stamp

Papua New Guinea - Traditional Dances (Victory) 2011

2012-01-14T18:12:00.003+07:00

Tehnical Details:
Stamp Size: 28.45mm x 42.58mm
Denomination: K1.05, K1.05, K5.00 & K7.00, Souvenir Sheet; K10.00, Sheetlet; K14.10
Quantity Printed: 250,000 Stamps
Sheet Contents: 25 Stamps
Format: Vertical
Perforation: 2mm
Colour: 4 Colour Process
Paper: 102 gsm
Gum: Unwatered mark, PVA Gummed
Printing Technique: Multi Colour Offset Lithography
Designer: Jane Kama Wena, Post PNG Philatelic Production
Printer: Southern Color Print Ltd, NZ
Issue Date: 01 December 2011
Withdrawal Date: 30 June 2012

Stamp Set:
K7.00 - Siasi, Morobe Province
K5.00 - Kandep, Enga Province
K1.05 - Kiriwina, Milne Bay Province
K1.05 - Oro, Northern Province

Souvenir Sheet:
K10.00 - Baining Fire Dancer, East New Britain Province

Souvenir Sheetlet:
K1.05 - Kerowagi, Simbu Province
K1.05 - Tolai, East New Britain Province
K5.00 - Rigo, Central Province
K7.00 - Huli, Southern Highlands Province

Traditional Dances (Victory):
Papua New Guinea, indeed is a land of rich and extraordinary diversity of cultural heritage and new discoveries.

A land where no native written word exists and more than 700 spoken languages. One of the most popular forms of education is through song and dance. Each dance or sing-sing has a special meaning. Sometimes it’s a way to say “hello” and “welcome.” At other times, the ceremonial dance signals a hunting or war victory.

Traditional celebrations, include song, dance, feasting and gift-giving. On these celebrations or special occasions, beautifully painted faces, stunning headdresses, vibrant and colorful traditional costumes adorn the dancers and an array of tumbuna song and dance; each representing and telling a legendary story as each step, twist and jump has its own significance and value.

Among these dances, victory dance is a popular performance and is very common throughout Papua New Guinea.

It reflects the warriors’ training and the skills to attack and defend in mostly tribal wars and hunting trips.

These gesture and body movement demonstrates the use of weapons and the fierceness of the warrior.

Victory dances are emphasized by holding shields and spears or bows and arrows imitating combats or hunting tactics as the body shifts weight. The steps and patterns again varies from region to region. Some performed in a theatrical pattern or without observation formation while others are in square, circle or line formation.

The womenfolks also joins in to celebrate on their husbands or sons’ return from tribal wars or hunting trips especially when they make a kill, which is very common specially in the highlands regions.

Cultural dances build self-esteem and instil pride in both performers and audiences, particularly in the younger generations who are competing rapidly with the forces of modernity and the changing world.

Post PNG Limited is once again very proud to amuse its collectors with stage two (2) of Traditional Dance, featuring Victory Dance as the last stamp issue of 2011.

Papua New Guinea - Body Tattoo 2011

2012-01-14T18:10:00.002+07:00

Techinal Details:
Stamp Set: 42.58mm x 28mm
Denomination: K1.05, K1.05, K5.00 & K7.00, Souvenir Sheet; K10.00, Sheetlet; K14.10
Quantity Printed: 150,000 Stamps
Sheet Contents: 25 Stamps
Format: Vertical
Perforation: 2mm
Colours: 4 Colour Process
Paper: 102 gsm
Gum: Unwatered mark, PVA Gummed
Printing Technique: Multi Colour Offset Lithography
Designer: Peter Apa, PostPNG - Philatelic Production
Printer: Southern Colour Print Ltd. NZ
Issue Date: 04 August 2011
Withdrawal Date: 04 February 2012

Stamp Set:
K1.05 - A face tattoo from Nondugl, Banz, Western Highlands Province - A sign of Self Pride
K1.05 - A face tattoo from Tufi, Popndetta, Oro Province - A sign of Maturity
K5.00 - A face tattoo from Asaro, Eastern Highlands Province - A sign of Tribal Identity
K7.00 - A face tattoo from Kudjip, Western Highlands Province - A sign of Self Pride

Souvenir Sheet:
K10.00 - A face tattoo from Tufi, Popndetta, Oro Province - A sign of Maturity

Souvenir Sheetlet:
K1.05 - Hand tattoo from Kairuku, Central Province - A sign of Self Pride & Tribal Identity
K1.05 - Chest tattoo from Gumine, Simbu Province - A sign of self pride & Tribal Identity
K5.00 - Leg tattoo from South Whagi, Western Highlands Province - A sign of self pride
K7.00 - Hand tattoo from Manus -’ Minei’ An eagle, a symbol of Tribal Identity

Body Tattoos from Papua New Guniea

The history of tattoo goes back over 5000 years ago and is as diverse as the people who wear them. The word tattoo is said to have two major derivationsfrom the Polynesian word ‘ta’ which means striking something and the tahitian word ‘tatau’ which means ‘to mark something’.

Tattoos are created by inserting colored substances beneath the skins surface using sharp pin-points.

According to history, the first tattoo was probably created by accident. Presumably, someone had a wound, and with a charcoal stained palm/hand may have rubbed in some of the substance into the wound in the process, and after the wound had healed, the substance trapped beneath the skin layer was still seen.

Today, people wear tattoos for various reasons ranging from cosmetic, sentimental/ memorial, religious, magical reasons, and to symbolize their belonging to or identification with particular groups, including criminal gangs but also a particular ethnic group or law-abiding subculture.

To others, tattoos have served as rites of passage, marks of status and rank, symbols of religious and spiritual devotion, decorations for bravery, sexual lures and marks of fertility, pledges of love, punishment, amulets and talismans, protection, and as the marks of outcasts, slaves and convicts.

The symbolism and impact of tattoos varies in different places and cultures. Tattoos may show how a person feels about a relative (commonly mother/father or daughter/ son) or about an unrelated person.

Papua New Guinea, endowed with diverse cultures, customs and over seven hundred distinct languages is also home to body tattooing. Like with other Pacific islanders, varying from shapes sizes and shades, tattoos stand to play significant roles in respective tribes. They can be found on different parts of the body (male and female) depending on their significance.

Whole-body tattooing is common in Gulf and to most of the Papuan coastal areas. Some are done as an indication of maturity while others represent tribal identity, self pride, magic qualities and or other reasons. Sad to note, whole-body tattooing is rarely seen on the younger generation nowadays. The very few who wear them are those in their late 50s and 60s.

In the highlands areas, most are known for their small forehead and side tattoos.These are signs of tribal identity and or self pride. And again, some tribal groups believe that tattoos have magical qualities that protect them from evil spirits and their enemies. For the womenfolk, tattoos are done for self body pride and or merely to show off their tribal symbols/ designs on their beautiful bodies, with the hope of attracting the opposite sex.

With its significance to Papua New Guinea, it would be injustice to shy a topic of its flamboyant from the outside world, therefore, Post PNG has chosen tattoos as its 10th stamp issue topic for this year.

France - Laces 2011

2011-12-31T14:18:00.002+07:00

Issue date: 10 October 2011
Format: 105 x 71.5 mm
Printing technique: Offset
Issuer: Patte & Besset
Theme : Art

Lace alive! This is the crazy bet has done Post to design stamps in four blocks of real lace. Four blocks that highlight the immense richness and diversity of regional know-how.
Each block contains a stamp which is affixed a piece of real lace industry of a different type. Lace is hot-glued in a process for depositing the adhesive only on the lace, which heated, making the complex lace / very strong paper. The cutting is then done by hand using a pastry cutter or scissors. This complex lace / paper is then pasted on the stamp. Small feat: the sign phi is drawn in the lace of 3 stamps (Chantilly, Alencon and Calais). To you to find it!

Chantilly lace evokes haute couture with its transparent side, sensual, ethereal. Inspired often floral, black is the color of choice. The round holes superimposed on the block refer to the boxes that guide drilled weaving lace.

After a needle technique, punctuated by delicate floral motifs and elaborately pierced, it is recognized Alencon lace identified by the embossed designs. The white highlights its subtlety and freshness. The bottom block contains an air mesh honeycomb so typical of this lace. In 2010, Alencon lace has been included in intangible cultural heritage by UNESCO.

In this type of lace, geometric patterns are preferred, as here on the stamp which contains this delicate diamond partitioned. In general, the off-white but also black, are dominant in natural materials such as linen or cotton for the Puy lace. The time for producing mechanical fashion and decor strips of lace refined. The block diagram on the left recalls the basic principle of crossing time is respected in the mechanical process.

Belarus - Belarusian National Clothes 2011

2011-12-31T14:02:00.002+07:00

Belarusian National Clothes:
On October 11, 2011 the Ministry of Communications and Informatization of the republic of Belarus will issue 2 stamps "Costume of Malorita region" and "Costume of Kalinkovichi region" from the series "Belarusian national clothes".

Designer: Tamara Stasevich.
Printing: offset.
Colour: multicolored.
Paper: chalk-surfaced.
Perforation: comb 133/4: 131/2.
Size of the stamps: 26x37 mm.
Sheet composition: 8 stamps and 1 coupon.
Size of the sheet: 104x138 mm.
Print quantity: 64.000 stamps.

A sheetlet is also issued:
Sheetlet composition: 8 (4 sets) stamps and 1 coupon.
Perforation: comb 133/4: 131/2.
Size of the sheet: 104x138 mm.
Print quality: 10 000.

Costume of Malorita region - Letter "H" is equal to the surface tariff of a letter up to 20 gram abroad.
Costume of Kalinkovichi region - Letter "P" is equal to the air-mail tariff of a letter up to 20 gram abroad.

Spain - Moda Espanola, Elio Berhanyer 2011

2011-12-07T18:50:00.002+07:00

Spanish Fashion - Elio Berhanyer
Issue date: 20/10/2011
Stamping: Gravure with micro-relief
Paper: Phosphorescent, gummed, chalk coated paper
Perforated: 13 ¼ (horizontal) y 12 ¾ (vertical)
Size of the Stamps: 28.8 x 49.8 mm. (vertical)
Size of Mini Sheet: 105,6 x 150 mm. (vertical)
Face value of the stamps €0.80
Edition: 280.000

A souvenir sheet consisting of four stamps, which reproduce various models of Spanish fashion designer Elio Berhanyer illustrate Spanish Fashion Series 2011.

Berenguer Elio Ubeda, better known in the world of fashion as Berhanyer Elio was born in Cordoba in 1929. At 17 he moved to Madrid starting a self-taught in fashion design. In 1956 he began working as a designer and in 1960 opened his own haute couture shop. Soon his name became famous internationally and that year won the award for best designer, awarded by the Cadillac House, the United States. Between 1960 and 1970 presented his couture collections by the world's major gateways and actresses like Ava Gardner, the Countess of Romanones, Queen Sofia and the Infanta Pilar have worn some of their models.

Elio has been one of the first designers to create, in 1969, a line of accessories, perfumes and accessories. Classic style, elegant and sophisticated, from 1969 began to combine haute couture with ready-to-wear, presenting the first collection of this line in 1973. At that time he won the competition to standardize Iberia flight attendants in 1982 designed the stewardess of the World Cup and, years later, the staff of the Feria de Madrid (IFEMA). Throughout his career he has received the most prestigious awards in fashion.

The stamps reproduce: Long dress party, made of black rayon taffeta with bright white, strapless neckline and horizontal flying. Serve with a wide band at the waist. Year 1970.

Suit consists of dress and short jacket in white cotton double sided, printed in green and navy blue horizontal stripes draw. 1970

Joint dress coat and knee. Wrap double-sided yellow wool, neck and neck with rounded box. The dress is white wool on the body and yellow skirt. 1972.

Party gown, white cotton combined with black polka dots, smaller in the body. Rounded neckline, short sleeves and black band at the waist. Dated between 1968 and 1975.

The costume is part of the collections of the Museum of Costume, Madrid, who has given the images for playback.

Spain - Autonomous Regions 2011

2011-12-07T18:49:00.002+07:00

Autonomous Regions/ Communities
Issue date: 03/01/2011
Stamping: Offset
Paper: Self-adhesive, phosphorescent
Size of the Stamps: 35 x 24.5 mm (horizontal)
Sheet size: 166 x 63 mm block (horizontal)
Face value of the stamps Price A (1 stamp = standard letter up to 20 gr, for Spain)
Editional: Unlimited

This card consists of eight stamps Autonomous reproduce, in addition to the Constitutional Court building, flags, and the territory occupied by seven Autonomous Communities. These seals are self-rate A and are designed to national letters of ordinary postage.

Spain's Constitutional Court is an institution whose function is to be the supreme interpreter of the Constitution. It is regulated in the Spanish Constitution of 1978. It is independent of other constitutional bodies and subordinate only to the Constitution and its Charter.

The Statute of Autonomy of the Autonomous City of Ceuta was approved by Parliament by Law 1 / 1995 of March 13. Its flag is white and black ribbons and the center is his shield.

Extremadura was passed the Statute of Autonomy in 1983, but has several subsequent amendments. Its flag has three equal horizontal stripes, in order top to bottom, showing the colors: green, white and black.

As Ceuta, the Autonomous City of Melilla was the Statute of Autonomy through Organic Law 2 / 1995 of March 13. Its flag is light blue with the shield of the city in the center.

The Balearic Islands got their Statute of Autonomy in 1983 but was replaced in 2007. Its flag is based on the traditional landmark or teaches the King of Aragon and blue space features a quartered construction or as a castle.

The Statute of Autonomy of the Community of Madrid was approved on March 1, 1983. Your banner took the crimson red background banner of Castile and the seven stars from the shield symbolize the constellation Ursa Major.

The Community of Castile and Leon also achieved its Statute of Autonomy in 1983 but was renovated in 2007. Under sections 5 and 6 of the Statute of the flag is quartered crosswise. The first and fourth quarters: on a red field a golden castle battlements ... The second and third on a silver, a lion rampant in purple, Lingua, UNAD and armed gules, crowned gold.

Similarly, the Navarre earned his Improvement of the Charter in 1982. Its flag, red, has a shield in the center formed by chains of gold on a red background with a green emerald in the center of union of its eight arms of links and, above them, the Royal Crown, symbol of the ancient kingdom of Navarre.

Namibia - Tribal Women 2001

2011-11-01T20:20:00.003+07:00

Issued on 05 September 2001
Perforation: 12.50mm x 12.50mm
References: Mrs.Antje Otto-Reiner, Ethnologist
Mr.Bernard Schurz, Curator, National Museum of Namibia
The Native Tribes of South West Africa (Hahn, Vedder & Fourie, Frank Cass & Co., 1966)
Hair-styles, Head-dresses & Ornaments in Namibia & Southern Angola.
(A.Scherz, E.Scherz, G.Taapopi, A.Otto, Gamsberg Macmillian, 1992)

Mbalantu
Traditionally, girls reaching marriageable age passed through an important initiation ceremony called ohango. Ankle length sinews were plaited (eembuvi) and decorated above the forehead with small white beads (omawe)

Damara
Traditionally, Damara women wore cloaks and aprons made of skin. The cloth headdress and style of dress shown was adopted after contact with European missionary wives, probably around 1860, and is still seen today.

Herero (leather headdress)
The traditional headdress of Herero woen is still ekori. It consists of rolled up leather cap with three high points decorated in various patterns. Iron beads often adorn the hood of this headdress.

San
Diverse ornamentation of personal choice characteristics San women. Fastened to hair often treated with crushed seeds are bead strands of ostrich eggshell, copper and traded glass beads.

Mafue
Traditional necklaces worn by Mafue women of the Caprivi were made from strung seeds and reeds as well as the highly prized traded glass beads.

Baster
Adapted from the bonnets worn by Voortrekker wives, Baster women traditionally wore, and still wear on special occasion such as Tsamkubis Day, decorative bonnets of varying style.

Mbukushu
This traditional hairstyle is called thihukeka. The front piece was made by rubbing the head with a mixture of fragrant grass, crushed wood and fat. Brass buttons symbolized nobility, wealth, and children.

Herero (flowered headdress)
After the arrival of missionaries, Herero women began wearing Victorian styled clothing with a headdress called otjikaeva. The style varies from upright to triangular and is still seen today.

Himba
The erembe headdress, made from the skin of a goat's head, is worn by a married woman or one who has a child. The thick collar of beads (ondengura) is only worn by women with two or more children.

Kwanyama
The middle and front horns of a married woman's omhatela headdress represent a bull and the rear horns a cow. The omhatela is made of hair and plant fibre rudded with crushed tree roots and fat.

Nama
After contract with wives if European missionaries, Nama women adopted colourful dresses and headscarves wound around the head.

Ngandjera/ Kwaluudhi
The horn-like structures of the oshipando/ iipando hairstyle were made from hair and sinew wrapped in palm leaves. The oshikoma at the back of the head was also made from hair and palm leaves rubbed with fatty red ochre.

Namibia - Traditional Roles of Men 2006

2011-11-01T20:02:00.002+07:00

Issued on 26 April 2006
Perforation: 13.00mm x 13.25mm

Traditional Roles of Men:
Father - The oldest role of man in the role of father.
Musician - Musicians give culture its rhytmn and its heartbeat.
Carver - Carvers create both utilitarian and decorative products.
Shaman - Shamans are part healer, part priest, sorcerer, and part artist.
Planter - Crop production provides staple food.
Hunter - Through hunting, man provides food for his family.

Leader - Far-Sighted leadership gives society direction and focus.
Blacksmith - Blacksmiths create metalwork for ornaments, weapons, and tools.
Protector - Man protects his family and fights for justice for his people.
Pastoralist - The keeping of livestock provides food and signifies wealth.
Trader - Trading provides livelihood alternatives.
Storyteller - Storytellers are the keepers of history.

Uruguay - UPAEP, Traditional Dances 2008

2011-11-01T20:01:00.002+07:00

Country/ Post: Uruguay
Date of Issue: 24 October 2008
Primary theme: Music & Dance (Musical instruments)
Width: 42.0 mm
Height: 30.0 mm
Number in set: 2 (show set)
Perforations: 12 by 12
Stamp issuing authority: Administración Nacional de Correos
Printer: Sanfer SRL

12 Uruguayan Pesos - America UPAEP - National Feast - Creole Feast
37 Uruguayan Pesos - America UPAEP - National Feast - Ilamadas Parade

Thailand - Thai Philatelic Exhibition, Traditional Dances 2011

2011-10-21T05:45:00.002+07:00

Date of Issue: 04 August 2011

Design 1: The Hero of Likay Song Khrueang Performance in a dance posture called Sod-Soi-Mala
Design 2: The Heroine of Likay Song Khrueang Performance in a dance posture called Naep-Wai-Nai-Ok
Design 3: The Hero of Likay Luk Bot Performance in a dance posture known as preparing for battle
Design 4: The Heroine of Likay Luk Bot Performance in a dance posture called Cheep-Na-Cheep-Lang

Denomination: Thailand Baht 5.00
Designer: Mr.Thaneth Ponchaiwong (Thailand Post Company Limited)
Printer: Thai British Security Printing Public Company Limited, Thailand
Printing Process: Lithography (Glitter Ink)

Likay is a Thai traditional musical folk drama. The performance on stage mostly speaking, signing, dancing, and acting the postures in harmony with the tune played by Pi Pat Band, the Thai traditional orchestra. According to historical evidence in the reign of King Rama V, a religious chanting was performed in the royal cremation ceremony of Queen Sunanda Kumariratana in 1880 by a group of Moslem sitting in circle with the Rammana drum playing at the center. This performance was called the Djikay song, which later distored to be Yikay and Likay respectively.

Likay Song Khrueang initiated in Siam by Phraya Phetpani, who set up the first Likay theatre or 'Wik' by developing the chanting of Moslem ('Suat Khaek') to be the popular part of the show, known as "Awk Khaek". In this part, a performer in Indian style costume came on stage for chanting and telling the sypnosis of the storyline, and the main story began next. It was increasingly popular throughout the country so that many more Wik of Likay had been set up at that time. Adapted from courtier's costumes, the performer dressed up with colorful blouse, white socks, sparkling accessories, and headdress called "panchuret-yot" before the costumes were changed to be simpler during the World War II since it was difficult to import the materials from abroad. Only round-necked and short-sleeved shirt, loincloth, breechcloth, head cloth or head ring were used instead of elegant attires. The new stories were plotted for the audiences to enjoy the more variety of Likay stories. This new face of Likay was widely known as Likay Luk Bot.

Indonesia - Traditional Textile of Indonesia 2011 (#3)

2011-10-16T13:09:00.005+07:00

MS without Overprint + Perforation

MS with Overprint + Perforation

MS with Overprint + Non Perforation

Technical Details:
Issued on 02 October 2011
Theme: Traditional Textile of Indonesia
Stamp Size: 41.06 x 25.31
Perforation: 12.75 x 13.50
Color: Separation & Invisible Ink
Paper: Tullis Russel
Gum: PVA
Printing Process: Offset
Printer: AMG Security Printing
Designer: De-Er

IDR 2500 - Songket Melayu, Riau
IDR 2500 - Songket Mentok, Bangka Belitung
IDR 2500 - Batik Mega Mendung, West Java
IDR 2500 - Tenun Sora Langi, West Sulawesi
IDR 2500 - Tenun Tolaki, South East Sulawesi
IDR 2500 - Tenun Tanimbar, Maluku
IDR 2500 - Batik Papua, Papua
IDR 2500 - Batik Papua Barat, West Papua

IDR 5000 - Tari Topeng, West Java (SS)

Indonesia is the largest archipelago country in the world with more than 17,500 large and small islands scattered along the 4800KM between Asia and Australia. Therefore, Indonesia has the largest diversity of art and culture compared to any part of this world. Every ethnic groups in Indonesia have its own characteristics in their traditional clothing which, of course, they are equipped with traditional unique cloth and being a wonderful cultural heritage.

Kain Tenun (woven cloth) are made with developed warp ikat technique and it is being a characteristics of population in Nusa Tenggarra, Kalimantan, Sulawesi regions and also in some areas in Sumatera; Kain Songket (Songket Cloth) has been growing in most areas in Sumatera, Kain Batik (Batik Cloth) has been attached to the identity of the Javanese; The sulam and embroidery art techniques are widely used in West Sumatera, that eventually spread to other parts of Indonesia, traditional cloth treasure is still thrive in Indonesia until the present day.

Indonesia traditional cloth has a high cultural value, especially from the point of aesthetics, symbolic meaning and has the philosophy that underlies its construction. The diversity and uniqueness of decorative woven cloth clearly reflected in the elemnets associated with the veneration of ancestors and the natural grandeur. Each region has distinctive features in the ornamental range associated with social-cultural function of the area. Within each family or religious rituals, a piece of woven fabric is almost always a very important part.

The history of Batik in Indonesia began to develop in the Sultanate of Mataram XVIII, then in the Sultanate of Yogyakarta and Surakarta era. Batik initially made in the palace to meet the demand for the king and his family and his followers clothing. As many of the king's courtiers lived outside the palace, the art of Batik was brought by them out of the palace and they produced it in their own places. Then, batik that used to be wear only by the royal family, developed into a popular folk clothes. For the Javanese, a piece of batik is not just a piece of cloth for clothing, but it used in some level of life of the royal family members started from a baby was born until the moment they left this world, also in dance, drama, and fashion arts.

Compared to other traditional types of cloth, batik is the most widely received cultural influence from China especially in ornament pattern. Chinese style decorative patterns such as dragon, phoenix, gold kepeng, butterflies, bats, peony flowers, or a clump of bamboo liked the most. The ornament pattern are used mostly in the batik from the coastal area that are along the northern coast of Java island. Lots of Chinese descent who are involved in this industry and become a famous batik businessman.

Uruguay - Definitive Stamps 2010

2011-09-24T18:39:00.002+07:00

Technical Details:
Country/ Post: Uruguay
Date of Issue: 20 October 2010
Primary theme: Economy & Industry, Agriculture & Food (Food & Cooking)
Width: 30.0 mm
Height: 42.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: Imperforate
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Sanfer SRL

7.00 Uruguayan Pesos - Caramel Maker (Circulation: 200000)

Uruguay - Definitive Stamps 2010

2011-09-24T18:34:00.002+07:00

Technical Details:
Country/ Post: Uruguay
Date of Issue: 19 August 2010
Primary theme: Economy & Industry, Mankind
Width: 30.0 mm; 42.0 mm
Height: 42.0 mm; 30.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: Imperforate
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Sanfer SRL

25.00 Uruguayan Pesos - The Fishmonger (Circulation: 200000)

Uruguay - Definitive Stamps 2010

2011-09-24T18:30:00.005+07:00

Technical Details:
Country/ Post: Uruguay
Date of Issue: 10 August 2010
Primary theme: Economy & Industry, Mankind
Width: 30.0 mm; 42.0 mm
Height: 42.0 mm; 30.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: Imperforate
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Sanfer SRL

17.00 Uruguayan Pesos - The Leader (Circulation: 200000)
30.00 Uruguayan Pesos - The Ice Cream Man (Circulation: 200000)

Uruguay - Definitive Stamps 2010

2011-09-24T18:25:00.005+07:00

Technical Details:

Country/ Post: Uruguay
Date of Issue: 27 May 2010
Primary theme: Economy & Industry, History of Peoples
Width: 30.0 mm
Height: 42.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: Imperforate
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Sanfer SRL

5.00 Uruguayan Pesos - Craftsment - Seller of Trinkets (Circulation: 200000)
The Turk: Trinket Seller
It was a typical street vendor, carrying their boxes universes, it seems impossible that they could fit so many things.
They sold everything, there was nothing they could not deliver within the genre of cheap merchandise.
From the patchouli forged forks, until the rosary with her crucifix.
Very high perished trumpeted by then reduced to trace amounts.
Many of them have made fortunes selling these trinkets, others left for the campaign and not a few of them were killed to steal their trinkets and carrying money.
The figure of Turkish Weekly was pulled from the literary and artistic ~ La Alborada ~ October 19, 1902, number 240 (Central Street)

10.00 Uruguayan Pesos - Craftsment - Shoemaker (Circulation: 200000)
The shoemaker or cobbler formerly called also was a trade that was transmitted by tradition or by circumstances of life, from grandparents to parents and parents to children.
The knowledge was passed down from generation to generation.
Cobbler's nickname was commonly put it into their own hands and helping a few utensils, arranged and composed shoes, utensils were the editor, the coast, the marker, picador, scorer, kickstand, hinge, donkey, brazier , cerate, razor, washcloth, etc ...today .... very difficult to find them.
Before it was customary to pay the shoemaker to make ends meet. A family had to repair the shoes of several of its members for a period of time, usually one month, and at the end of it, as if it were a salary, paid the shoemaker for his services. Currently, most of them perform other tasks such as selling shoes, arrangement of locks, keys etc. making...

Uruguay - Definitive Stamps 2009

2011-09-24T18:15:00.003+07:00

Technical Details:
Country/ Post: Uruguay
Date of Issue: 27 November 2009
Primary theme: Economy & Industry, Agriculture & Food (Food & Cooking)
Width: 30.0 mm
Height: 42.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: Imperforate
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Sanfer SRL

8.00 Uruguayan Pesos - Greengrocer

Uruguay - Definitive Stamps 2008

2011-09-24T18:02:00.005+07:00

Technical Details:
Country/ Post: Uruguay
Date of Issue: 07 December 2008
Primary theme: Economy & Industry, Agriculture & Food (Food & Cooking)
Width: 30.0 mm
Height: 40.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: Imperforate
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Sanfer SRL

8.00 Uruguayan Pesos - Pastry Cook (Circulation: 100000)
Today the Post issued a stamp Uruguayan more that will become part of the ongoing series we call ~ Crafts ~ and we have decided to issue from October last year, in tribute to the services most frequently performed in the past, but some only exist in memory of Uruguayans who had the honor to see them walking our streets or entering their facilities.
In this regard, since 6 October, shipments distributed in our country and abroad are reporting for images of The Peanut Vendor ~ ~ ~ the organ ~ ~ ~ The Apothecary, The Sharpener ~ ~ ~ ~ The Barber and ~ The Baker ~. From now on permanent series reverence for these workers, will be honored another job ~ ~ The Pastera designed by the painter Menck Freire, who also created the stamps above.

The history of pasta and therefore by their manufacturer with pulp mills, has been much discussed: according to some was a mixture of knowledge they had of Europeans (mainly Italians), the Chinese made noodles and tomatoes brought from America resulting in the creation of more varieties of dishes, as well as the shape, thickness and flavor of these.
The controversy over the true origin of pasta, from Marco Polo travel to Mount Vesuvius, with delightful anecdotes as enjoy a good homemade pasta.
Over the centuries, XI and XII, appears for the first time in Italy, dried pasta brought by the Arabs, just in Sicily, then under his control. It was a thin tube called pasta ~ ~ itrya.
In the middle of the sixteenth century were carried pasta cooks France Catherine de Medici and recommended by the court physician, Paul Jacques Malouin, a member of the Academy of Sciences and professor of the College of the second half France. eighteenth century, appeared in France a new profession of vermicelliers ~ ~ that using a device with holes, they transformed the dough into thin wire-like worms. In Italian vermi worm says ~ ~ and hence the name ~ ~ vermicelli, which is synonymous with the word ~ ~ spaghetti, Neapolitan word first appears in the middle of last century.
The pulp was also responsible for an important culinary breakthrough. By the time the spaghetti became the most popular food of the Neapolitans, they were eaten with bare hands because the bondholders, who had only two teeth, were used to roll up.
In the United States pasta were introduced by none other than Thomas Jefferson, who also imported the first machine to make spaghetti.
In terms of processing methods were also progressing with the passage of time. initially drawing only reserved for women, then industrial processing of the paste begins in the nineteenth century, more precisely in Naples in 1830. The mixing was done in troughs, container and wood rectangular extrusion press rough wood, drying the noodles are made in the sun. Subsequently, the invention of the hydraulic press using steam and drying by artificial means were history of current methods.
Disclosure outside the Italian borders, is also part of the history of pasta.
All countries north of the Alps, willingly accepted their consumption. Especially from industrial products, and who liked children and also they were cheaper.
After the Chinese, Italian is the most successful in the world.and surprisingly parallel development of stuffed pasta.
Fresh pasta, bought or handmade, have become popular and have reached every home, and more and more chefs from all countries that compete with the Italian specialists in pasta.
Our country has not been an exception to this rule, with Italian immigrants came and with them their customs, delicious meals with the family together, enjoying the delicious homemade pasta of the mamma.

Uruguay - Definitive Stamps 2007

2011-09-24T17:55:00.003+07:00

Technical Details:
Country/ Post: Uruguay
Date of Issue: 18 November 2007
Primary theme: Economy & Industry, Agriculture & Food (Food & Cooking)
Width: 30.0 mm
Height: 41.50 mm
Layout/Format: self adhesive sheet of 25
Perforations: 11 by 11
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Imprimex

5.00 + 2.00 Uruguayan Pesos - The Baker (Circulation: 1000000)

El Correo Uruguayo through philately and its products, plays a role in dissemination of our social, cultural and historical.

In that sense, day after November 18, 2007 has been outstanding seal ~ The Baker ~ which becomes part of the series Crafts, which has five other reasons, the Peanut Vendor ~ ~ ~ the organ ~ ~ the Apothecary ~, ~ ~ and ~ the Sharpener the Barber ~, pretending to pay tribute to those workers whose jobs, in some cases only stay in the memory of the Uruguayans.

With the seal of the series Crafts ~ ~ The Baker just a tribute to the craft itself, the Post Uruguay committed to social causes, in solidarity and commits to the fantastic work being done in the Colonies of Psychiatric Care ~ Dr. Etchepare ~ and ~ Bernardo Dr. Santin Carlos Rossi ~.

In this sense, the label is now issued, with a circulation of one million stamps have a face value of $ 5 and a bonus of $ 2, meaning it, that all Uruguayans who purchase the stamp of the baker, in shops Uruguayan Mail from around the country, either to deposit an item, to collect or give away this beautiful stamp will be donated to the Colonies and Rossi Etchepare two Uruguayan pesos.

Uruguay - Definitive Stamps 2007

2011-09-24T17:41:00.008+07:00

Technical Details:

Country/ Post: Uruguay
Date of Issue: 06 October 2007
Primary theme: Economy & Industry, Agriculture & Food (Food & Cooking)
Width: 42.0 mm ; 30.0 mm
Height: 30.0 mm ; 42.0 mm
Layout/Format: self adhesive sheet of 25
Perforations: 12 by 12
Stamp issuing authority: Administración Nacional de Correos
Illustrator: Carlos Menck Freire
Printer: Imprimex

1.00 Uruguayan Pesos - Peanur Seller (Circulation: 500000)
7.00 Uruguayan Pesos - Knife Grinder (Circulation: 200000)
10.00 Uruguayan Pesos - The Organist (Circulation: 100000)
25.00 Uruguayan Pesos - The Barber (Circulation: 50000)
50.00 Uruguayan Pesos - The Druggist (Circulation: 100000)

Alderney - Centenary of British Red Cross Uniforms 2011

2011-09-10T16:58:00.003+07:00

SPECIFICATION:
Date of issue: 28 July 2011
Designer: Robin Carter
Printer: Joh Enschede
Values: 26p, 47p, 48p, 52p, 61p, 65p
Process: Offset Lithography
Stamp sizes: 37.7mm x 28mm
Paper: 110gsm unwatermarked & PVA Adhesive
Perforation: 13.75 x 14.25
Sheet: 10
Cylinder: A

BACKGROUND
The British Red Cross is part of the International Red Cross and Red Crescent Movement, the world's largest independent humanitarian network.

The International Red Cross and Red Crescent Movement began in 1863, inspired by a Swiss businessman, Henry Dunant. He had been appalled at the suffering of thousands of men who were left to die due to lack of care after the Battle of Solferino in 1859.

Dunant proposed the creation of national relief societies made up of volunteers who were trained in peacetime to provide neutral support in times of war. In response to his vision the founding charter of the Red Cross was drawn up in 1863.

Following the outbreak of war between France and Prussia in July 1870, Colonel Robert Loyd-Lindsay wrote to The Times newspaper calling for a National Society to be formed in Britain. On 4 August 1870, a resolution was passed that "a National Society be formed in this country for aiding sick and wounded soldiers in time of war and that the said Society be formed upon the Rules laid down by the Geneva Convention of 1864".

In 1905 the Society was reconstituted as the British Red Cross, which was granted its first Royal Charter in 1908 by HM King Edward VII and Queen Alexandra.

In May 1919 the League of Red Cross Societies (now the International Federation of Red Cross and Red Crescent Societies) was established and extended the role of national Red Cross societies from its focus on wartime relief to incorporate "the improvement of health, the prevention of disease, and the mitigation of suffering throughout the world".

In the UK, the British Red Cross has provided emergency relief following events such as the Lockerbie air disaster (1988) and the devastating summer floods of 2007. Working as part of the Movement, it has provided relief to the victims of international conflicts and disasters, including the Haiti earthquake in 2010.

With special thanks to the British Red Cross Museum and Archives.

36 p - Female VAD uniforms circa 1915
As part of the Voluntary Aid Detachment (VAD) scheme, British Red Cross volunteers were given official uniforms such as the red dress and stiff cults worn by Nursing Commandants. The first World War saw changes in uniform to make them easier to keep clean in combat conditions.

47 p - Male VAD uniforms 1915
The Male VAD uniform was issued in British Army khaki green during the First World War. Women ambulance drivers wore a badge made up of the Red Cross emblem and the Maltese Cross of the Order of St.John, in a double circle and enclosing the letters V.A.D.

48 p - Nurses uniforms 1966-1978
Changes in the design of nurses' uniforms were more gradual between the two world wars. Around 1925 an embroidered Red Cross emblem was added to the centre of the head veil. The Second World War saw the Red Cross nurses' uniform change to a short-sleeved, round collared dress with a drawstring waist.

52 p - Changes reflect practical requirements and fashion trends 1981-2001
The 1960s saw more changes to the uniform, reflecting practical requirements and fashion trends. Head veils were replaced by disposable paper caps and dresses became shorter. In the 1980s an adaptable 'mix and match' clothing range was introduced, more suited to the growing health and social care role of the British Red Cross.

61 p - Uniforms change to practical wear 2001
In 2001 the Red Cross uniform was replaced by work wear described as 'pratical clothing, fit for purpose', including polo shirts and fleeces. A new roundel was introduced to be worn on clothing to give greater visibility to the Red Cross emblem.

65 p - B.R.C work wear 2011
In 2009 a new range of British Red Cross work wear was introduced, bringing the first major change in clothing colour since 1911, from navy blue to red, white & grey. The formal uniforms remains navy blue.

Indonesia - Provincial Emblems 2008, 2009, 2010

2011-09-02T14:19:00.004+07:00

Total: 33 pieces
Denomination: 1500 Indonesia Rupiah

Norwegia - Football Club's Coat of Arms

2011-09-02T14:13:00.002+07:00

Special Stamps
Self Adhesive

Slovenia - Indepedence & Coat of Arms of Slovenia 1991-1992

2011-09-02T10:01:00.006+07:00

Declaration of Independence: 1v (5 Slovenian Tolarjev)
Date of Issue: 26 June 1991
Drawing: Grega Košak
Design: Grega Košak
Motive: Tender plan of Slovene Parliament Building made by architect Jože Plečnik
Print: DELO - TISKARNA d. d., Ljubljana
Technique: offset
Sheet: 25
Paper: muflep 90g, gummed
Size: 30 x 42 mm
Cog: 101/2 x 101/2 mm
Cogging: line
Illustration: Grega Košak

Coat of arms of Slovenia:
The Slovenian coat of arms consists of a red bordered blue shield on which there is a stylised white mount Triglav. Under Triglav there are two bending lines that represent the sea and rivers, and above Triglav there are three golden, six-pointed stars, forming a triangle. The stars are taken from the coat of arms of the counts of Celje.

State coat-of-arms of the Republic of Slovenia: 4v (6, 20, 50, 100 Slovenian Tolarjev)
Date of Issue: 26 December 1991
Design: Srečko Knafelc, državni grb: Marko Pogačnik
Motive: State coat-of-arms of the Republic of Slovenia
Print: DELO - TISKARNA d. d., Ljubljana
Technique: 4-colour offset
Sheet: 25
Paper: muflep 90g, gummed
Size: 25,6 x 34,5 mm
Cog: 14 x 14 mm
Cogging: line

State coat-of-arms of the Republic of Slovenia: 4v (1, 4, 5, 11 Slovenian Tolarjev)
Date of Issue: 12 February 1992
Design: Srečko Knafelc, državni grb: Marko Pogačnik
Motive: State coat-of-arms of the Republic of Slovenia
Print: DELO - TISKARNA d. d., Ljubljana
Technique: 4-colour offset
Sheet: 50
Paper: muflep 90g, gummed
Size: 25,6 x 34,5 mm
Cog: 14 x 14 mm
Cogging: line

State coat-of-arms of the Republic of Slovenia: 1v (1 Slovenian Tolarjev)
Date of Issue: 13 February 1992
Design: Srečko Knafelc, državni grb: Marko Pogačnik
Motive: State coat-of-arms of the Republic of Slovenia
Print: DELO - TISKARNA d. d., Ljubljana
Technique: 4-colour offset
Sheet: 50
Paper: muflep 90g, gummed
Size: 25,6 x 34,5 mm
Cog: 14 x 14 mm
Cogging: line

State coat-of-arms of the Republic of Slovenia: 1v (5 Slovenian Tolarjev)
Date of Issue: 06 March 1992
Design: Srečko Knafelc, državni grb: Marko Pogačnik
Motive: State coat-of-arms of the Republic of Slovenia
Print: DELO - TISKARNA d. d., Ljubljana
Technique: 4-colour offset
Sheet: 50
Paper: muflep 90g, gummed
Size: 25,6 x 34,5 mm
Cog: 14 x 14 mm
Cogging: line

State coat-of-arms of the Republic of Slovenia: 4v (2, 4, 11, 15 Slovenian Tolarjev)
Date of Issue: 16 March 1992
Design: Srečko Knafelc, državni grb: Marko Pogačnik
Motive: State coat-of-arms of the Republic of Slovenia
Print: DELO - TISKARNA d. d., Ljubljana
Technique: 4-colour offset
Sheet: 50
Paper: muflep 90g, gummed
Size: 25,6 x 34,5 mm
Cog: 14 x 14 mm
Cogging: line

Indonesia - Folk Dances 1986

2011-09-02T09:17:00.002+07:00

Issued on 23 June 1986

Folk Dances:
140 Indonesia Rupiah - Legong Kraton Dance
350 Indonesia Rupiah - Barong Dance
500 Indonesia Rupiah - Kecak Dance

Nauru - Flowers, Nature, Culture, Map 1973

2011-09-02T08:36:00.002+07:00

Issued on 31 January 1973
Fifth anniversary of independence.

1c - Ekwenababae
2c - Kauwe Iud
3c - Rimone
4c - Denea
5c - Erekogo
7c - Ikimago
8c - Catching Flying Fish
10c - Nauruan 'Itsibweb' ball game
15c - Nauruan Wresterling
20c - Snaring Frigate Birds
25c - Nauruan girl with flower
30c - Men catching Nodody Birds
50c - Frigate birds
1D - Map of Nauru, Artifacts

France - Coat of Arms 1944 - 1966

2011-08-29T10:41:00.000+07:00

Portugal - Traditional Costumes 2007

2011-07-19T05:07:00.001+07:00

This stamps issue consists of traditional costumes.

Technical Details:
Country/ Post: Portugal
Date of Issue: 28 February 2007
Primary theme: Mankind (Clothes & costumes)
Width: 40.0 mm
Height: 30.6 mm
Denomination: 0.30 €
Number in set: 14 (show set)
Layout/Format: Mini Sheet of 10 of 10 designs; Mini Sheet of 4 of 4 designs.
Perforations: 13 by 13.75
Stamp issuing authority: CTT Correios de Portugal SA
Printer: Cartor Security Printing

0.30 Euro - Regional Dress - Minho, Lavradeira
0.30 Euro - Regional Dress - Minho, Noiva
0.30 Euro - Regional Dress - Tras-os-Montes, Capa de Honras
0.30 Euro - Regional Dress - Tras-os-Montes, Pauliteiro
0.30 Euro - Regional Dress - Douro Litoral, Camisola de Pescador (Fisherman shirt)
0.30 Euro - Regional Dress - Beiras/Tras-os-Montes, Coroça
0.30 Euro - Regional Dress - Estremadura, Saias da Nazaré
0.30 Euro - Regional Dress - Ribatejo, Campino
0.30 Euro - Regional Dress - Algarve, Camponesa
0.30 Euro - Regional Dress - Alentejo, Capote

0.30 Euro - Regional Dress - Acores, Capote e Capelo
0.30 Euro - Regional Dress - Beira Litoral, Camponês
0.30 Euro - Regional Dress - Madeira, Viloa
0.30 Euro - Regional Dress - Ribatejo, Camponesa

Indonesia - Traditional Textiles of Indonesia 2011 (#2)

2011-07-17T13:26:00.005+07:00

MS with out Overprint + Perforation
MS with Overprint + Perforation
MS with Overprint + Perforation

Technical Details:
Issued on 06 July 2011
Theme: Traditional Textile of Indonesia
Stamp Size: 41.06 x 25.31
Perforation: 12.75 x 13.50
Color: Separation & Invisible Ink
Paper: Tullis Russel
Gum: PVA
Printing Process: Offset
Printer: AMG Security Printing
Designer: De-Er

IDR 2500 - Tenun Aceh, Nanggroe Aceh Darussalam
IDR 2500 - Tenun Pandai Sikek, West Sumatera
IDR 2500 - Batik Basurek, Bengkulu
IDR 2500 - Songket Palembang, South Sumatera
IDR 2500 - Batik Madura, East Java
IDR 2500 - Tenun Sambas, West Kalimantan
IDR 2500 - Tenun Bentenan, North Sulawesi
IDR 2500 - Batik Masambo, West Nusa Tenggara

IDR 5000 - Karapan Sapi, East Java (SS)

Indonesia is the largest archipelago country in the world with more than 17,500 large and small islands scattered along the 4800KM between Asia and Australia. Therefore, Indonesia has the largest diversity of art and culture compared to any part of this world. Every ethnic groups in Indonesia have its own characteristics in their traditional clothing which, of course, they are equipped with traditional unique cloth and being a wonderful cultural heritage.

Kain Tenun (woven cloth) are made with developed warp ikat technique and it is being a characteristics of population in Nusa Tenggarra, Kalimantan, Sulawesi regions and also in some areas in Sumatera; Kain Songket (Songket Cloth) has been growing in most areas in Sumatera, Kain Batik (Batik Cloth) has been attached to the identity of the Javanese; The sulam and embroidery art techniques are widely used in West Sumatera, that eventually spread to other parts of Indonesia, traditional cloth treasure is still thrive in Indonesia until the present day.

Indonesia traditional cloth has a high cultural value, especially from the point of aesthetics, symbolic meaning and has the philosophy that underlies its construction. The diversity and uniqueness of decorative woven cloth clearly reflected in the elemnets associated with the veneration of ancestors and the natural grandeur. Each region has distinctive features in the ornamental range associated with social-cultural function of the area. Within each family or religious rituals, a piece of woven fabric is almost always a very important part.

The history of Batik in Indonesia began to develop in the Sultanate of Mataram XVIII, then in the Sultanate of Yogyakarta and Surakarta era. Batik initially made in the palace to meet the demand for the king and his family and his followers clothing. As many of the king's courtiers lived outside the palace, the art of Batik was brought by them out of the palace and they produced it in their own places. Then, batik that used to be wear only by the royal family, developed into a popular folk clothes. For the Javanese, a piece of batik is not just a piece of cloth for clothing, but it used in some level of life of the royal family members started from a baby was born until the moment they left this world, also in dance, drama, and fashion arts.

Compared to other traditional types of cloth, batik is the most widely received cultural influence from China especially in ornament pattern. Chinese style decorative patterns such as dragon, phoenix, gold kepeng, butterflies, bats, peony flowers, or a clump of bamboo liked the most. The ornament pattern are used mostly in the batik from the coastal area that are along the northern coast of Java island. Lots of Chinese descent who are involved in this industry and become a famous batik businessman.

Mexico - Traditional Dances, Joint issue with India 2010

2011-06-18T11:20:00.003+07:00

Issued on 15 December 2010
Mexico – India – Joint Issue:- India and Mexico, both vibrant and pluralistic democracies, established diplomatic relations in 1950 and completed 60 years. To commemorate the completion of 60 years of diplomatic relations, a Miniature sheet of two stamps was released by Mexico depicting the Kalbelia dance of Rajasthan, India and Jarabe Tapatio, National dance of Mexico.

Kalbelia dance of Rajasthan:
The Kalbeliyas, is a snake-charmer community from Rajasthan, which performs the Kalbeliya dance. They rely heavily on this dance performance for their living. The Kalbeliya women dancers wear long, black coloured, drindled-skirts heavily worked with embroidery and light-coloured thread along with small pieces of mirrors. This costume draws the attention in a somewhat strange way.

The dance is usually performed by a group of two women standing in the center of the stage. After this pair, another pair of women come & dances in the same way. As the women dancers move in a circle, while dancing, their body sway acrobatically, leaving an impression that they are made up of some flexible material like rubber. The beat of the dance increases in tempo and also there is an increase in their pace of the dance. This dance performance leaves viewer as exhausted as the dancer. The overall performance consists of many fearful actions performed by dancers. The performance relies heavily to the music of `been` and `duff`. The actual fun of their performance can be enjoyed at the gatherings somewhere around the festival of Holi.

The dancers are required to constantly decrease the tempo of their gyrations and move to the corners to catch their breath while two other dancers would spin around to take their places in the center. The specialty of this dance is that the dancers perform it in a beautiful synchronized rhythm that for a moment the audience feels they are the same dancers that continue throughout the performance.

Kachhi Ghodi Dance Kachhi Ghodi Dance
It is believed that the Kachhi Ghodi dance is originated from the bandit regions of Shekhawati. Generally, the dance is performed for the entertainment of the bridegroom`s party. Dancers are ready with elaborate costumes that resemble them as if they are riding on a dummy horse. It is a vigorous type of dance. It also uses mock fights and the brandishing of swords, nimble sidestepping and pirouetting to the music of drums. During the performance, a ballad singer sings & exploits of the bandit Robin Hoods of Rajasthan. Men in elaborate costumes ride the equally well-decorated dummy horses. However, they hold naked swords in their hands and move rhythmically on the beating of drums and fifes.

Jarabe Tapatio, National dance of Mexico:
The Jarabe Tapatío dance in its standardized form was first choreographed by the Mexican, in the early twentieth century to celebrate a government-sponsored fiesta that commemorated the successful end of the Mexican Revolution.

Since then, it has become a folk dance popular throughout Mexico and the Southwestern United States. It serves as a symbol of the national pride and honor of the Mexican people.

The dance tells the story of love and courtship. It can be performed either by a couple or a group of couples. A charro, dressed in the traditional charro suit, a three-piece suit composed of a vest, jacket, and pants bearing silver buttons down the seam, makes initial courtship gestures to la china (wearing the traditional China Poblana outfit). It looks almost like a mariachi band's attire. They flirt throughout the beginning of the dance, during which time the man attempts to woo the woman with his zapateado (stamping and tapping) and his machismo. Just as he has impressed the woman, he becomes drunk with glory, and is shooed away as a borracho (an inebriate), but ultimately, he succeeds in conquering the china, throwing his hat to the ground and kicking his leg over his partner's head as she bends down to pick it up. The two do a triumphant march to a military tune called a diana, and the dance ends with a romantic turn or the couple hiding their faces behind the man's sombrero in a feigned kiss.

Morocco - Traditional Costumes 2005

2011-05-14T05:18:00.003+07:00

Booklet Pane of 10 (Self Adhesive):

6.00 Morocco Dirhams - Two Women
6.00 Morocco Dirhams - Ait Mouhad
6.00 Morocco Dirhams - Costume Saharaoui Derraa
6.00 Morocco Dirhams - Two Women
6.00 Morocco Dirhams - Citadin
6.00 Morocco Dirhams - Costume Saharaoui Melhfa
6.00 Morocco Dirhams - Costume Tata Women
6.00 Morocco Dirhams - Costume Tata Man
6.00 Morocco Dirhams - Meknassa
6.00 Morocco Dirhams - Mokhazni du Roi

S.M.O.M - Uniform Military 2008

2011-04-22T07:24:00.002+07:00

COSTUMES AND UNIFORMS OF THE SOVEREIGN MILITARY ORDER OF ST JOHN HOSPITAL OF JERUSALEM OF RHODES AND OF MALTA

Issue date: November 13, 2008
Values: € 0.60 Nine combined block corresponding to a total € 5.40
Subject: costumes and uniforms of the Knights of Jerusalem from the twelfth to the seventeenth century.
Size: mm. 40 x 48
Perforation: 14
Circulation: twelve thousand complete sets
Sheet: a complete set consists of nine stamps
Printing: offset. I.P.Z.S. SPA - Roma
Paper: fluorescent non-watermarked

Angola (Portuguese Colony) - Coat of Arms 1963

2011-04-13T19:30:00.005+07:00

0.15 Centavos - Vila de Sanza-Pombo
0.20 Centavos - Vila de Santo Antonio do Zaire
0.25 Centavos - Vila de Ambriz
0.40 Centavos - Vila de Ambrizete
0.60 Centavos - Vila de Catete
0.70 Centavos - Vila de Quibaxe
1.00 Escudos - Vila de Maquela do Zombo
1.20 Escudos - Vila de Bembe
1.50 Escudos - Vila de Caxito
1.80 Escudos - Vila do Dondo
2.50 Escudos - Vila de Damba
4.00 Escudos - Povoavao de Cuimba
6.50 Escudos - Vila de Negage
7.00 Escudos - Povoacao de Quitexe
8.00 Escudos - Povoacao de Mucaba
9.00 Escudos - Povoacao de 31 de Janeiro
11.00 Escudos - Povoacao de Nova Caipemba
14.00 Escudos - Vila de Songo
17.00 Escudos - Povoacao de Quimbele
25.00 Escudos - Povoacao de Noqui
35.00 Escudos - Povoacao de Santa Cruz
50.00 Escudos - Vila General Freire

Angola (Portuguese Colony) - Coat of Arms 1962

2011-04-13T19:30:00.004+07:00

0.05 Centavos - S.Paulo da Assuncao de Luanda
0.10 Centavos - Vila de Massangano
0.30 Centavos - Vila de Muxima
0.50 Centavos - Cidade de Carmona
1.00 Centavos - E' Portugal Que Revive
1.50 Escudos - Cidade de Malanje
2.00 Escudos - Na'o Faco Mais Porque Na'o Posso
2.50 Escudos - Labor Omnia Vincit
3.00 Escudos - Na'o Perdoei a Fadiga, Despesa ou Aflicao
3.50 Escudos - Cidade de S.Salvador do Congo
5.00 Escudos - Cidade de Luso
7.50 Escudos - Cidade de S.Filipe de Benguela
10.00 Escudos - Cidade do Lobito
12.50 Escudos - Cidade da Gabela
15.00 Escudos - Cidade de Sa' da Bandeira
17.50 Escudos - Cidade de Silva Porto
20.00 Escudos - Cidade de Nova Lisboa
22.50 Escudos - Cidade de Cabinda
30.00 Escudos - Cidade de Serpa Pinto

Mozambique (Portuguese Colony) - Coat of Arms 1961

2011-04-13T19:29:00.002+07:00

0.05 Centavos - Descoberta e Soberania Portuguesa
0.15 Centavos - Vila de Chibuto
0.20 Centavos - Cidade de Nampula
0.30 Centavos - Terra da Boa-Gente
0.50 Centavos - Esta Ilha Pequena, Que Habitamos
1.00 Escudos - Vila de Matola
1.50 Escudos - E Aqui Pusemos um Padrao
2.00 Escudos - Vila de Mocuba
2.50 Escudos - Querendo e Que se Vence
3.00 Escudos - Vila Cabral
4.00 Escudos - Vila de Manica
4.50 Escudos - Vila Perry
5.00 Escudos - Vila de S.Tiago de Tete
7.50 Escudos - Porto Amelia
10.00 Escudos - Vila de Chinde
20.00 Escudos - Vila de Joau Belo
50.00 Escudos - Cidade da Beira

Cape Verde (Portuguese Colony) - Coat of Arms 1961

2011-04-13T19:28:00.001+07:00

0.05 Centavos - Cidade da Praia
0.15 Centavos - Vila de Nova Sintra
0.20 Centavos - Vila da Ribeira Brava
0.30 Centavos - Vila de Assomadi
1.00 Escudos - Vila do Maio
2.00 Escudos - Labor Omnia Vincit Improbus
2.50 Escudos - Vila de Santa Maria
3.00 Escudos - Vila das Pombas
5.00 Escudos - Vila de Sal-Rei
7.50 Escudos - Vila do Tarrafal
15.00 Escudos - Vila Maria Pia
30.00 Escudos - Cidade de S.Filipe

India (Portuguese Colony) - Coat of Arms 1958

2011-04-13T19:26:00.001+07:00

Heraldic Arms of Famous Men:

0.20 réis - D. Vasco da Gama
0.60 réis - Lopo Soares de Albergaria
0.90 réis - D. Francisco de Almeida
1.00 Rupias - Nuno da Cunha
1.00 tangas - Garcia de Noronha
4.00 tangas - D. Afonso de Albuquerque
5.00 tangas - D. Joao de Castro
11.00 tangas - D. Luis de Ataide

Indonesia - Traditional Textiles of Indonesia 2011 (#1)

2011-04-08T06:25:00.007+07:00

MS with out Overprint + Perforation

MS with Overprint + Perforation

MS with Overprint + Non Perforation

Technical Details:
Issued on 30 March 2011
Theme: Traditional Textile of Indonesia
Stamp Size: 41.06 x 25.31
Perforation: 12.75 x 13.50
Color: Separation & Invisible Ink
Paper: Tullis Russel
Gum: PVA
Printing Process: Offset
Printer: AMG Security Printing
Designer: De-Er

IDR 2500 - Ulos Hand Woven, North Sumatera
IDR 2500 - Tampan Hand Woven, Lampung
IDR 2500 - Batik Lasem, Central Java
IDR 2500 - Batik Parang Garuda, DI.Yogyakarta
IDR 2500 - Sasirangan Hand Woven, South Kalimantan
IDR 2500 - Iban Hand Woven, East Kalimantan
IDR 2500 - Toraja Hand Woven, South Sulawesi
IDR 2500 - Sumba Hand Woven, East Nusa Tenggara

IDR 5000 - Batik Parang Garuda, DI.Yogyakarta (SS)

Indonesia is the largest archipelago country in the world with more than 17,500 large and small islands scattered along the 4800KM between Asia and Australia. Therefore, Indonesia has the largest diversity of art and culture compared to any part of this world. Every ethnic groups in Indonesia have its own characteristics in their traditional clothing which, of course, they are equipped with traditional unique cloth and being a wonderful cultural heritage.

Kain Tenun (woven cloth) are made with developed warp ikat technique and it is being a characteristics of population in Nusa Tenggarra, Kalimantan, Sulawesi regions and also in some areas in Sumatera; Kain Songket (Songket Cloth) has been growing in most areas in Sumatera, Kain Batik (Batik Cloth) has been attached to the identity of the Javanese; The sulam and embroidery art techniques are widely used in West Sumatera, that eventually spread to other parts of Indonesia, traditional cloth treasure is still thrive in Indonesia until the present day.

Indonesia traditional cloth has a high cultural value, especially from the point of aesthetics, symbolic meaning and has the philosophy that underlies its construction. The diversity and uniqueness of decorative woven cloth clearly reflected in the elemnets associated with the veneration of ancestors and the natural grandeur. Each region has distinctive features in the ornamental range associated with social-cultural function of the area. Within each family or religious rituals, a piece of woven fabric is almost always a very important part.

The history of Batik in Indonesia began to develop in the Sultanate of Mataram XVIII, then in the Sultanate of Yogyakarta and Surakarta era. Batik initially made in the palace to meet the demand for the king and his family and his followers clothing. As many of the king's courtiers lived outside the palace, the art of Batik was brought by them out of the palace and they produced it in their own places. Then, batik that used to be wear only by the royal family, developed into a popular folk clothes. For the Javanese, a piece of batik is not just a piece of cloth for clothing, but it used in some level of life of the royal family members started from a baby was born until the moment they left this world, also in dance, drama, and fashion arts.

Compared to other traditional types of cloth, batik is the most widely received cultural influence from China especially in ornament pattern. Chinese style decorative patterns such as dragon, phoenix, gold kepeng, butterflies, bats, peony flowers, or a clump of bamboo liked the most. The ornament pattern are used mostly in the batik from the coastal area that are along the northern coast of Java island. Lots of Chinese descent who are involved in this industry and become a famous batik businessman.

Indonesia - Traditional Ceremonies 2011

2011-03-23T19:20:00.004+07:00

Issued date: 24 Februuary 2011
Denomination: Indonesian Rupiah 1500
Theme: Traditional Ceremonies
Size: 41.60 x 25.31
Perforation: 12.75 x 13.50
Composition: 24 pieces (6x4) Tete-Beche
Colors: 4 Separations + Invisible Ink
Paper: Tullis Russel
Gum: PVA
Printing Process: Offset
Printing Quantity: 300,000 sets
Designer: Pidi Baiq
Printer: Perum Peruri

IDR 1500 - The Ritual of Grebeg Syawal of Yogyakarta.
Grebeg SYawal is held in Yogyakarta palace. The event is held to coincide 1 Syawal: The event itself is centered on the north square of Yogyakarta and move toward to the Mosque Gede of Yogyakarta Palace.
Lanang mountains (male moutains of crops) are made of vegetables and other crops escorted by the ten bregada (unitary force) soldiers taken to Mosque Gede of Ngayogyakarta palace.
The Lanang mountains (male mountains of crops) become seizure of society, this procession is preceeded with a prayer for the community welfare and safety by the headman of the Mosque Gede Kauman.
Within minutes, all the crops that is served in the lanang mountains grabs out of masses. In the same time in the ward Tratag of Yogayakarta Palace, Sungkeman Ngabekten ceremony is being held followed by the people of Yogyakarta. As for the palace courtiers and relatives, Sungkeman against the Sultan will be held the next day. This ceremony has become a tradition of Yogayakarta Palace.

IDR 1500 - The Ritual of Ngaben of Bali
Ngaben is cremation or cremation of Hindus in Bali. Ngaben is a ritual performed to send the bodies to the next life.
Bodies should be placed in his sleep, the body's corpse is placed in a coffin. The coffin is placed in the sarcophagus that resembles to an ox, or in container temple-shaped made of wood and paper. The sarcophagus that resembles to an ox or temple-shaped is taken to the cremation place through a procession.
The peak of Ngaben ceremony is the burning of the entire structure (Ox or monasteries made of wood or paper), along with the corpes. The fire is needed to liberate the spirit from the body and facilitate the reincarnation.
Ngaben is not always performed immediately. For the high caste members, it is reasonable to perform this ritual within 3 days. But for the lower caste members, the body was buried first and then cremated in a group to a village.

IDR 1500 - The ritual of Pasola, Sumba from East Nusa Tenggara
Pasola is a game of agility of throwing javelin made of wood to each other on a horse that is being driven hard by two opposing groups. Pasola is part of a series of traditional ceremonies performed by the people of Sumba still adhered to the original religion called Marapu (local religious communities sumba). Pasola games is held in four villages in West Sumba district, they are Kodi, Wonokaka, and Gaura. Pasola is performed in the four villages in turn between February and March each year.

IDR 1500 - The Ritual of Tiwah, Dayak of Central Kalimantan
Tiwah is the procession of delivery of relatives ancestors spirits who have passed away by purifying and moving the remains of the body from the grave into a place called Sandung.
According to Kahirangan the death of a family cause Pali that can only be removed by a ceremonial malapas Pali called tiwah. Tiwah ceremony is being perfomed, because the Pali can lead to bad consequences for personal lives, families, communities, and even the environment, as well as for the late, in order to clear the way towards a glorius place that God provided through Tiwah ceremony.
Tiwah ceremony is the last of the ceremonial procession of a person's death, which begins with Mangubur ceremony, which brings the corpse to the cementary of Tantulak Ambun Rutas Matei aims to deliver- Liau balawang panjang ganan bereng to a a place called Lewu Balo Indu Rangkang Penyang. This is a place of waiting supposedly located on the third stgae of heaven. The last ceremony is tiwah that reunify the three spirits before and deliver them to Heaven, known as Lewu Tatau.

Papua New Guinea - Traditional Dances 2010

2011-03-20T17:23:00.002+07:00

Issued on 01 December 2010

Traditional Dance #2 - WAR
Papua New Guinea is known for its unique cultural diversities and traditions. The extreme diversity is reflected by more than 850 languages and a fragmentation of the people, customs, and traditions that is unlike any other country on earth.

One fundamental aspect of cultural expression is through traditional dances where it meaningfully describes wider cultural identities.

The performance reflects spiritual, social and historical values through chanting and body movements. Every tribal dance vary across regions, sometimes recounting historic events or legends and sometimes describing important event such as feast, yam cultivation or war.

War dancer
Other dances can sometimes perform at night as means of mediate relations between human, supernatural and ancestral realms.

Among them, war dance is a popular subject of performance and is common throughout Papua New Guinea which reflects training, attack and defense.

The gesture and body movement demonstrates the use of weapons and the fierceness of a warrior.

Most war dances are emphasized by holding shields and spears or bows and arrows imitating combats as the body shifts weight.

The steps and patterns of war dance again varies from region to region; Some performed in a theatrical pattern or without observable formation while others are in square, circle or line formation.

Although Christianity has altered the style and content of dances and music in most indigenous cultures, these forms of art and practices still continue to exist among many tribes and cultures as the most significant markers of cultural and national identities. Such creative cultures are the pillars of recognition, identity and pride among traditional societies in Papua New Guinea

Today cultural dances build self-esteem and instill pride in both performers and audiences, particularly in the younger generations who are competing rapidly with the force of modernity and the changing world.

Stamp Sets:
50t - A Warrior with bow and arrow (WHP)
K1.05 - Simbu Warrior with spear (Simbu)
K5.00 - A Warrior with spear and shield (WHP)
K7.00 - A Mudman with bow and arrow (EHP)

Souvenir Sheet
K10.00 - K10.00 - Tasman Island knife dancer

Papau New Guinea - Contemporary Arts of PNG 2007.jpg

2011-03-20T17:20:00.002+07:00

PNG Toea 0.05- Blended Culture - Oro Gagara
PNG Toea 0.30 - Tribesman - Western Province
PNG Toea 0.85 - The Sorcerer - Cultural Initiation (Begesin/ Madang)
PNG Kina 3.00 - Blended Culture - (Hewa Wigman)
PNG Kina 3.35 - Pigs into Python - Legend (Bukawa, Morobe Province)
PNG Kina 5.35 - Tolai Masks - East New Britain Province

Estonia - Coat of Arms 2004

2011-03-18T05:29:00.010+07:00

Harju County
Price: 0.28
Date: 28 November 2004
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 10
Quantity issued: 1 000 000
Printing house: Cartor Security Printing/ Prantsusmaa

Harjumaa lies in northern Estonia, occupying the coastal area from Keibu Bay to Eru Bay and stretching as far as 56 km into the inland. In a straight line the distance from east to west is 126 km, but the indented coastline measures 530 km, including 165 km of the islands, of which there are 74. Its area of 4,333 square kilometres makes Harjumaa the second biggest county in Estonia. Harjumaa is also the most populous Estonian county. In 2000 its population was 525,700, more than one third of that of the whole country. It comprises Tallinn, the capital of Estonia, as well as six other towns. Harjumaa is a county of big contrasts. There is a lot of industry spilling out from the capital into the neighboring areas, two big ports apart from that of Tallinn, agricultural land and forests. The communes lying around the capital are densely populated, but farther inland there is almost uninhabited wilderness with a rich wildlife. The landscape along the seashore is scenic, with a limestone escarpment running for almost all its length from east to west. Several rivers form picturesque waterfalls as they descend from it to flow into the Gulf of Finland. Vast stretches of land in the county have been set apart as nature reserves (including one third of the Lahemaa National Park) and there are also numerous archaeological and built monuments – cairns, prehistoric cult stones, hill fort sites, monastic ruins, churches and historical manor halls.

Hiiumaa County
Price: 0.28
Date: 28 November 2004
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 10
Quantity issued: 1 000 000
Printing house: Cartor Security Printing/ Prantsusmaa

Hiiumaa is the smallest county in Estonia, taking up the western island of the same name along with Kassari Island and about 230 islets in the coastal waters of the main island. The total area of the county is 1,019 sq km and it has a population of only about 10,300.The county town of Kärdla, 3,767 inhabitants in 2003, is a quiet green place of small houses surrounded by orchards and vegetable gardens.Fishery and fish processing, forestry, trade, transport, construction, farming and tourism are the main sources of livelihood.The island’s main attractions are its nearly empty beaches, forests covering about 70 percent of the island and abounding in wildlife, as well as manmade structures - churches, historical manor seats, farm buildings and lighthouses . Standing out among them is the 16th century Kõpu Lighthouse, one of the oldest constantly functing ones in the Baltic Sea.

Estonia - Coat of Arms 2005

2011-03-18T05:29:00.009+07:00

East-Viru County
Price: 0.28
Date: 08 March 2005
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 marki/ stamps
Quantity issued: 1 000 000
Printing house: Cartor Security Printing/ France

Ida-Virumaa (Estonia’s East-Viru County) lies on Europe’s eastern border - the right bank of the Narva already belongs to Russia. From north to south, the county takes up the area between the high southern coast of the Gulf of Finland and the sandy beaches along the northern bank of Lake Peipsi. The western part of the county is covered with large forests and bogs. The most magnificent sight is the limestone bluff that rises to 56 meters above sea level at Ontika and boasts a rare strip of primeval forest between it and the sea. Near Valaste Estonia’s highest, 25.6 metre Valaste Waterfall drops down from the escarpment. The biggest conglomeration of lakes in Estonia, with forty of them scattered over an area of just 30 sq km, also lies in Ida-Virumaa. The county, with a population of amount 180,000 in a territory of 3,364 sq km, is a foremost industrial area yielding more than 14 percent of Estonia’s gross domestic product. Investors have discovered opportunities and advantages of this controversial county and their investments into business, real estate and infrastructure in the area have been growing from year to year. Completion of a port in Sillamäe will give the county an additional thrust for operating as a transit corridor as well as a tourist destination.

Järva County
Price: 0.28
Date: 15 March 2005
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 000 000
Printing house: Cartor Security Printing/ France

Järvamaa is a historical county in central Estonia. Settlement acquired a permanent nature since the 13th century when German knights established a foothold in Paide. In 1265 an Order castle with an octagonal 30-meter corner tower, Pikk Hermann, was erected there in 1265. Even today the tower is the main device on the coat-of-arms of both Järva County and the county government seat, Paide. With a territory of 2,700 sq km, Järvamaa is one of the smallest Estonian counties. More than half the present population of 39,000 live in rural areas. As of 1 January 2005 Paide had 9,606 and Türi 6,558 inhabitants. The county has numerous sources and bogs, serving as an important freshwater deposit for northern Estonia. Nature reserves of various categories cover more than half the territory. Järva County boasts a number of old architectural monuments. There are several Gothic churches dating from the 13th and 14th centuries, as well as a number of stately manor halls, most of them built in the 18th and 19th centuries. The condition of those manors where schools were set up after the nationalisation of manors in the early 20th century is the best. The county also has several museums, the oldest of them being the 1905-established Järva County Museum that has a branch in the Paide Vallitorn (the restored Pikk Hermann). Imavere has the Estonian Dairy Museum, Türi a Broadcasting Museum, Järva-Jaani a Firefighting Museum and the village of Vetepere in the Albu rural municipality the museum of the novelist Anton Hansen-Tammsaare on a late 19th century farm.

Jõgeva County
Price: 0.28
Date: 05 July 2005
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 000 000
Printing house: Cartor Security Printing/ France

Jõgeva County lies in central and eastern Estonia, being open and accessible to people coming from anywhere in Estonia. The county stretches 75 kilometres from east to west and 45 kilometres from north to south. The western boundary of the county runs along the upper reaches of the Navesti, while the eastern boundary follows the shore of Lake Peipsi, extending thirty kilometres from Tiirikoja to Kodavere. Historically and culturally Jõgeva County can be divided into three diverse areas – Põltsamaa, Vooremaa and the Lake Peipsi rim. The landscape is varied, with woods and bogs alternating in the Central Estonian plain; there are some primeval forests as well. Vooremaa with its beautiful mirror lakes is the pride of the county, one of the most peculiar glacial surface features in Europe. Also the Russian-speaking Old Believers’ villages with their churches, village streets stretching without a break along the Lake Peipsi shore and traditional activities have no parallels elsewhere. Jõgeva County has three towns and ten communes, with about 38,000 people living in a territory of 2,604 square kilometres.

Lääne County
Price: 0.28
Date: 08 July 2005
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 000 000
Printing house: Cartor Security Printing/ France

Lääne County lies the farthest west on the Estonian mainland, lying on a relatively sparsely populated coastal area – 12 inhabitants per square kilometre compared with the overall Estonian density of 32 inhabitants per sq km. The county takes up 2,394 sq km, 5.3 percent of the territory of Estonia. The county comprises 237 islands, islets and reefs; the biggest of them are Vormsi (96.64 sq km) and Osmussaar (4.92 sq km). The total length of the coastline is 399 kilometres. The county has eleven local governments – one town (Haapsalu) and 11 communes. The population was 28,968 as of 1 April 2005. Lääne County has 14 nature reserves making up 22 percent of the territory of the county, the best known of them being the Matsalu National Park, a bird sanctuary extending to 480 square kilometres. It is believed more than two million waterfowl stop there during the spring and about 300,000 in the autumn migration. The total number of bird species registered in Matsalu is 270, with 157 species regularly nesting in the area. Lääne County is one of eight prehistorical Estonian counties. From 1228 to the Livonian War in the 16th century the county belonged to the Bishopric Oesel-Wiek. The construction of the oldest architectural monuments of the county, bishop’s castles and churches (Lihula, Haapsalu, Koluvere, Ridala) began then. Sea eagle with a nimbus is the historical device of Lääne County ever since the Bishopric Oesel-Wiek was established in the 13th century. It orignally belonged to St John the Evangelist, appointed by the Pope as the guardian saint of the bishopric.

Estonia - Coat of Arms 2006

2011-03-18T05:29:00.007+07:00

Lääne-Viru (West-Viru) County
Price: 0.28
Date: 25 January 2006
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 280 000
Printing house: AS Vaba Maa

Lääne-Viru is a North-Estonian county (maakond) on the Gulf of Finland. It has an area of 3,627 square kilometres and its population in 2005 was about 70,000. Apart from the county seat of Rakvere, the county has three other towns. The nature is varied and the different landscapes, all with their peculiar vegetation and types of forests, lie in zones from the coastline to the southern boundary line. Straddling the border with the neighbouring Harju County is the Lahemaa National Park, the first in Estonia and, when it was established in 1971, also in the Soviet Union. With its forests and nature trails, restored manor complexes, the skippers’ village of Käsmu and the fishermen’s hamlet of Altja it is highly popular with tourists. Further south, the Pandivere Upland with its numerous springs giving rise to several rivers could be called the water pump of Estonia. The county has a well-developed industrial sector, intensive agriculture and business life. The main areas are food, woodworking, forestry, building materials and trade. Lääne-Virumaa has age-old folk dancing and singing traditions, and today the Viru Säru Festival draws international participants. A monument to the Estonian language stands at Kadrina, the letter õ for a typical Estonian sound was invented in Viru-Nigula and the county seat of Rakvere of just 17,500 inhabitants has a thriving professional theatre and art centre.

Põlva County
Price: 0.28
Date: 08 February 2006
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 250 000
Printing house: AS Vaba Maa

Põlva County is situated in southeastern Estonia, stretching from the Otepää Highlands in the west to Lakes Lämmijärv and Pihkva (Pskov) in the east. In the southeast, the county borders on the Pskov Region of the Russian Federation. The county has a territory of 2,165 square kilometres and a population of 32,800, of these 9,500 in the two towns, Põlva and Räpina. The main sources of livelihood are agriculture, forestry, industry (dairy products, wood, flax and vegetable processing) as well as services to tourists. The county has 14 local governments. The population is very homogeneous, practically all the inhabitants being ethnic Estonians. In parts of the county the people still daily use the ancient South-Estonian dialect. Nearly 40 percent of the territory is arable land, forests making up another 40 percent. Large tracts of the land are in a near-pristine state. The relief is overwhelmingly varied with 125 lakes in valleys between round hillocks mainly in the western part. The Ahja and the Võhandu have beautiful sandstone outcrops along parts of their course. Põlva County is an area of balanced development famous for its rich cultural heritage and beautiful scenery, a safe living and working environment with growing popularity among tourists and holiday-makers.

Pärnu County
Price: 0.28
Date: 08 March 2006
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 210 000
Printing house: AS Vaba Maa

Pärnumaa, lying in the southeast of Estonia on the Gulf of Riga, has the largest territory among Estonian counties (4,807 square kilometres), being home to nearly 90,000 people. The county has the oldest known settlement sites in Estonia, Pulli and Reiu, that are dated back to 11,000 years ago. It was established on the basis of the 13th to 16th century Pärnu commandery of the Teutonic Order as well as later Polish, Swedish and Russian administrative units. In the 19th century Pärnu was one of the centres of the national movement. The first president of the Republic of Estonia, Konstantin Päts, was born in Tahkuranna. The history of the county seat of Pärnu goes back to 1251. It is known as a resort town since the mid-19th century and is nowadays declared the summer capital of the country for the summer months. Besides, the county has two towns and 19 other local governments, including the Gulf of Riga island of Kihnu. The device on the golden shield of the Pärnu County coat of arms is a black bear standing up on its hind legs, with the eye, fangs and claws in silver and the tongue red.

Rapla County
Price: 0.28
Date: 06 September 2006
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 660 000
Printing house: AS Vaba Maa

Rapla County (2,979 square kilometres, 37,000 inhabitants) is situated in North and Central Estonia and lies largely on the North-Estonian limestone bedrock. It is an area of big forests and bogs. The main source of livelihood is agriculture, but glass, paper and other branches of industry are also represented in the county. The county has several prehistoric strongholds and numerous more recent manor halls. Every August Rapla’s imposing twin-steepled Mary Magdalene Church hosts an international church music festival. Rapla is one of the youngest counties in Estonia, formed during a campaign of Soviet reorganization in 1950 when the southern part of Harju County was set off as a separate administrative unit. It was extended in another campaign in 1959–1962 at the expense of territories that had earlier belonged to the neighbouring Järva, Lääne and Pärnu counties. Also the coat of arms of the county symbolizes this amalgamation of four different parts.

Estonia - Coat of Arms 2007

2011-03-18T05:28:00.005+07:00

Saaremaa County
Price: 0.28 Euro
Date: 25 January 2007
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 5 090 000
Printing house: AS Vaba Maa

The Estonian Saare (Island) county is made up of five inhabited islands and numerous small islands and islets with a total territory of 2,922 square kilometres and a population of about 38,000. The island county is valued by both islanders and mainland Estonians as the place to spend their summer holidays, discovering deserted beaches and the islands' natural wonders. The islands' unique natural and cultural heritage, the islanders' warm humour and hospitality will help visitors forget the fast pace of daily life and experience the passage of time the islands way in the westernmost Estonian county, where the sun sets later than on the mainland. Various cultural events organised on Saaremaa, Muhu, Abruka, Vilsandi and Ruhnu will make island holidays a success. But for those who prefer peace and solitude, there are the Vilsandi National Park and the Viidumäe Nature Reserve, as well as the characteristic island landscapes - alvars and juniper stands, coastal and wooded meadows, not to mention coastal villages and the roar of waves breaking on the shore.

Tartu County
Price: 0.35 Euro
Date: 02 July 2007
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 3 000 000
Printing house: AS Vaba Maa

Estonia’s Tartu County is versatile both in terms of its nature and culture. It has the town of Elva set in a pine wood, the Vooremaa drumlin area, a remnant of the Ice Age, the eel-rich Lake Võrtsjärv lined with reed beds, major wetlands at both ends of the River Emajõgi, the undulating Kambja and Pangodi area that will progress into uplands slightly further south, primeval forests at Järvselja and the banks of Lake Peipsi, one of the largest fresh-water bodies in northern Europe, on the banks of which Russian-speaking Old Believers grow the best onions in Estonia. The Emajõgi cuts the county, and indeed the whole of Estonia, into two halves. In olden times its served as the boundary between two major dialectal groups, as well as frames of mind. Yet the county also has unifying features: conservative balance, a patriotic spirit, cultured interests and the will to learn. In fact, learning and aspiration for education is the most important common denominator for the county. It is the county where the first Estonian schools for peasants’ children opened and where the only classical university in Estonia attracts students from near and far. The aura of the county seat, the educational and research centre of Tartu, prevails over the whole county and its people have picked fostering education and research as their development strategy.

Estonia - Coat of Arms of Viljandi 2007

2011-03-18T05:28:00.004+07:00

Viljandi
Price: 0.35 Euro
Date: 25 October 2007
Print: offset
Designer: Lembit Lõhmus
Perforation: 13¾ :14
Sheets: 5 x 5
Quantity issued: 2 335 000
Printing house: AS Vaba Maa

With about 20,000 inhabitants, Viljandi is the sixth biggest city in Estonia. Located on the bank of Lake Viljandi, it stands out for its varied nature and well-developed infrastructure. Side by side with services and trade woodworking and textile industry and construction companies play an important role. The place is rapidly developing as a tourism destination. The cultural scene in the city is set by the Ugala Theatre, the University of Tartu Viljandi Culture Academy and the annual International Viljandi Folk Music Festival. Viljandi was granted the Riga Charter in 1283. In the 14th century it was admitted to the Hanseatic League. Today’s Viljandi is a pleasant place to live and to visit, a place with rich historical and cultural heritage – a city created for creation. The Viljandi Town Hall was first built after the Great Northern War in 1768–1774 as a one-storied stone house. Its present appearance dates from 1931. The coat-of-arms of the city is one of the oldest among the coats-of-arms of Estonian local governments. The image of a rose with five petals was featured on the small seal of the city as early as in 1429.

Estonia - Coat of Arms 2008

2011-03-18T05:27:00.001+07:00

Valga County
Price: 0.35 Euro
Date: 07 February 2008
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 2 715 000
Printing house: AS Vaba Maa

Valga County (Estonian: Valgamaa) lies in southern Estonia and as it has a common border of 101 kilometres with Latvia, it is deservedly called the south gate of Estonia. The landscape is picturesque and changing – there are flat areas, moraine heights, big forests, numerous scenic lakes and winding rivers. The territory of the county is 2,046 square kilometres and it had 35,000 inhabitants at the beginning of 2008. The Valga County in its present boundaries was formed in 1920 of the town of Valga and parts of the neighbouring counties. This makes the county quite an exciting place – you can find in it cultural influences of Tartu County, as well as dialectal and cultural features of both southern Viljandi County and of the Võru area. But the past of the historical Valgamaa goes back much farther – to the time of Empress Catherine II who issued a ukase on 3 July 1873 by which the present Valga County was formed of the northeastern parts of the Riga and Cesis counties. Valga County and the town of Valga have always been seen as the focal point of Livonia, where people used to meet to settle important matters. Valgamaa is a county with a venerable past, and thanks to its attractiveness it is a pleasant place to rest, to live and to work. The Estonian-Latvian town of Valga-Valka was granted a city charter by King Stefan Batory of Poland back in 1584, the Helme-Tõrva area is the location of the singular mausoleum of the Russian army leader Barclay de Tolly, while Otepää, often called the Pearl of Estonia, is known far and wide as a ski resort.

Viljandi County
Price: 0.35 Euro
Date: 27 March 2008
Print: ofset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 2 930 000
Printing house: AS Vaba Maa

Viljandi County (Est: Viljandimaa) lies in the Sakala Upland with deep primeval valleys cutting into it. Estonia's largest inland water body, Lake Võrtsjärv, spreads in the eastern part of the county, while the western part is taken up by big wetlands of the Soomaa National Park traversed by several tributaries of the River Pärnu and boasting a fifth season – high water. The county has 55,000 inhabitants and is divided into 15 local government units. The county town of Viljandi is known as the seat of a theatre and the venue of various cultural events, not least the summer Folk Music Festival when the town sees the number of its residents double. Northern Viljandimaa is proud to be the birthplace of the Kapp family of composers and of the 13th century Sakala elder, Lembitu, who put up a fierce resistance to invaders. The eagle holding a bared sword in its claws in the coat-of-arms of the county symbolyses the freedom eventually won, while the ears of corn in the small shield represent fertility – southern Viljandimaa, the Mulk Country, in particular has always been known for its industry and prosperity.

Võru County
Price: 0.35 Euro
Date: 30 OCtober 2008
Print: offset
Designer: Lembit Lõhmus
Sheets: 5 x 5
Quantity issued: 1 650 000
Printing house: AS Vaba Maa

With nearly 39,000 inhabitants and a territory of 2,305 square kilometres Võru County lies in Estonia’s far southeastern corner and it has a common border with Latvia and Russia. Stone age settlement sites at Kääpa, on the Võhandu River and at Roosisaare are regarded as the oldest, going back 5,000 years. Today the county has 12 rural communities and the County seat of Võru, which was granted the status of a town in 1784. The communities fall into two historial regions – the Võru and the Seto cultural areas where the local dialects and traditions are still honoured today. Friedrich Reinhold Kreutzwald lived for 44 years as a doctor in Võru and it was there that he produced all his literary work, including the Estonian national epic, Kalevipoeg. The county is famed for its picturesque scenery – it has the highest point in the Baltic countries, Suur Munamägi, and numerous rounded hills covered with forests. Of the valleys lying between the hills Ööbikuorg (Nightingale Valley) is known the best; it also has the deepest lake in Estonia, Rõuge Suurjärv. They say that Võru County is a part of Estonia where you can be alone with nature – travelling there you may end up in places where it seems as if no one has been there before. With his warm heart a Võrokõnõ takes care of the world and its creatures.

Indonesia - Provincial Emblems 2008

2011-03-03T21:05:00.002+07:00

Country / Post: Indonesia
Date of Issue: 17 August 2008
Primary theme: National symbols (Coats of Arms)
Subject: Provincial Emblems
Width: 48.0 mm
Height: 32.0 mm
Denomination: 2500 IDR
Number in set: 11 (show set)
Layout/Format: miniature sheet of 11 of 11 designs
Perforations: 13.5 by 13.5
Stamp issuing authority: Directorate General of Post and Telecommunications
Printer: AMG Security Printing

IDR 2500 - Provincial Emblems - Bali
IDR 2500 - Provincial Emblems - Gorontalo
IDR 2500 - Provincial Emblems - Jawa Barat
IDR 2500 - Provincial Emblems - Jawa Tengah
IDR 2500 - Provincial Emblems - Kalimantan Barat
IDR 2500 - Provincial Emblems - Maluku
IDR 2500 - Provincial Emblems - Nanggroe Aceh Darussalam
IDR 2500 - Provincial Emblems - Papua
IDR 2500 - Provincial Emblems - Riau
IDR 2500 - Provincial Emblems - Sulawesi Barat
IDR 2500 - Provincial Emblems - Sumatera Barat

Indonesia - Provincial Emblems 2009

2011-03-03T21:04:00.003+07:00

Country / Post: Indonesia
Date of Issue: 17 August 2009
Primary theme: National symbols (Coats of Arms)
Subject: Provincial Emblems
Width: 48.0 mm
Height: 32.0 mm
Denomination: 2500 IDR
Number in set: 11 (show set)
Layout/Format: miniature sheet of 11 of 11 designs
Perforations: 13.5 by 13.5
Stamp issuing authority: Directorate General of Post and Telecommunications
Printer: AMG Security Printing

IDR 2500 - Provincial Emblems - Provinsi Banten
IDR 2500 - Provincial Emblems - Provinsi Jawa Timur
IDR 2500 - Provincial Emblems - Provinsi Kalimantan Tengah
IDR 2500 - Provincial Emblems - Provinsi Kalimantan Timur
IDR 2500 - Provincial Emblems - Provinsi Kepulauan Riau
IDR 2500 - Provincial Emblems - Provinsi Lampung
IDR 2500 - Provincial Emblems - Provinsi Nusa Tenggara Timur
IDR 2500 - Provincial Emblems - Provinsi Papua Barat
IDR 2500 - Provincial Emblems - Provinsi Sulawesi Tengah
IDR 2500 - Provincial Emblems - Provinsi Sulawesi Tenggara
IDR 2500 - Provincial Emblems - Provinsi Sumatera Selatan

Indonesia - Provincial Emblems 2010

2011-03-03T20:58:00.004+07:00

Country / Post: Indonesia
Date of Issue: 13 December 2010
Primary theme: National symbols (Coats of Arms)
Subject: Provincial Emblems
Width: 48.0 mm
Height: 32.0 mm
Denomination: 2500 IDR
Number in set: 11 (show set)
Layout/Format: miniature sheet of 11 of 11 designs
Perforations: 13.5 by 13.5
Stamp issuing authority: Directorate General of Post and Telecommunications
Printer: AMG Security Printing

IDR 1500 - Provincial Emblems - Provinsi Sumatera Utara
IDR 1500 - Provincial Emblems - Provinsi Jambi
IDR 1500 - Provincial Emblems - Provinsi Bengkulu
IDR 1500 - Provincial Emblems - Provinsi Kepulauan Bangka Belitung
IDR 1500 - Provincial Emblems - Provinsi DKI Jakarta
IDR 1500 - Provincial Emblems - Provinsi DI Yogyakarta
IDR 1500 - Provincial Emblems - Provinsi Kalimantan Selatan
IDR 1500 - Provincial Emblems - Provinsi Sulawesi Selatan
IDR 1500 - Provincial Emblems - Provinsi Sulawesi Utara
IDR 1500 - Provincial Emblems - Provinsi Maluku Utara
IDR 1500 - Provincial Emblems - Provinsi Nusa Tenggara Barat

Israel - Israel's Festival, Purim 1976

2011-02-15T20:03:00.002+07:00

Day Of Issue: 17 February 1976
Denomination: 0.4 IL; 0.8 IL; 1.6 IL
Color: multicoloured
Watermark: none
Perforation: box 13 X 14
Phosphorus: none
Inscription: ''Purim 5736 (1976)''
Motifs: From the ''book of Esther''
Price: IL. 4.00
Sheets sold: 539000
Method Of Printing: Photolithography
Designer: O & E Schwarz

0.4 IL - ''Purim'' Excerpts from the ''book of Esther'': Chapter 1, verses 1-3
0.8 IL - ''Purim'' Excerpts from the ''book of Esther'': Chapter 2, verses 16-17
1.6 IL - ''Purim'' Excerpts from the ''book of Esther'': Chapter 6, verse 11

PURIM:
Purim - the Feast of Esther and Mordechai - falls in early spring. Celebrated on the 14th of the Hebrew month of Adar, its story is told in the biblical Book of Esther. The events described took place during the reign of Ahasuerus, better known as Xerxes, who ascended the Persian throne in 486 BCE, and who was a grandson of Cyrus - the same Cyrus under whose rule the Jews in exile were encouraged to return to their homeland.

The Book, or Scroll, of Esther, relates how Vashti the Queen refused to attend one of her husband's riotous parties in the Palace of Shushan. As a result, she was deposed, and Ahasuerus married Esther - whose Hebrew name was Hadassah - the lovely adopted daughter of Mordechai, one of the Jewish courtiers at Shushan. Meanwhile, a plot to destroy the Jewish communities of Persia was hatched by Haman, the king's favorite. Mordechai discovered the plot, and asked Esther to intercede with the King. Only then did Esther reveal to him her Jewish origins and pleaded for the protection of her co-religionists. Ahasuerus readily agreed. Haman was hanged from the gallows he had prepared for Mordechai, and the Jews were given permission to defend themselves. The ordained day was the 13th Adar, and so great was the sense of foreboding that, as the date drew near, "many of the people of the land became Jews; for the fear of the Jews tell upon them" (Esther 8:17).

Thousands of Jew-baiters died on that fateful day, and on the morrow the Jews rejoiced, "sending portions one to another, and gifts to the poor" (Esther 9:22). Only in the walled city of Shushan did the slaughter continue, and Haman's ten sons were hanged upon the gallows. Accordingly, the Jews of Shushan postponed their festival to the 15th Adar, establishing the custom of "Shushan Purim," whereby Purim takes place 25 hours later in walled towns than in unwalled towns and villages.

Until today, Purim is considered a minor feast, perhaps geared more to the Diaspora than to the Land of Israel. It does not demand a pilgrimage to Jerusalem, but is marked by reading the Scroll of Esther in all synagogues. punctuated by shouts whenever "Haman" appears in the text.

Other customs which persist are the sending of gifts, and participation in a festive meal, including the traditional "Hamantaschen" - triangular pastries filled with poppyseed and honey - and pulses, recalling the years when Esther, as an observant Jewess, kept to a vegetarian diet in the King's palace. Purim is also the one holiday in the year when merrymaking supersedes study! The Purimspiel and masquerades are later additions, probably stemming from European carnivals. Although Purim was at first frowned on by Israel's higher authorities, many aspects were so popular that it soon became an integral part of the Jewish calendar, and as early as Maccabean times it was observed as the Day of Mordechai. Its universality endeared it to the man-in-the-street. The story of Haman, the symbolic Amalekite, archenemy of the Jews, and his defeat has been endlessly repeated since the first Dispersion 2,500 years ago.

The scenes depicted on the three stamps of the series are based on the Scroll of Esther: musicians serenading King Ahasuerus (inscription on the tab - "In the days of Ahasuerus" (Scroll of Esther 1:1-3); Esther being crowned queen (tab inscription - Scroll of Ether 2:16-17), and Mordecai being honored by the king and led through the streets by Haman, the tab inscription announces "Thus shall it be done to the man whom the king delights to honor" (Scroll of Esther 6:11)

Republic Dominica - Traditional Costumes 1996

2011-02-15T20:02:00.000+07:00

Bosnia and Herzegovina (Serb post) - Traditional Costumes 2001

2011-02-15T20:01:00.002+07:00

Edition title: Pieces from the museum in Republic of Srpska
Author: Radomir Bojanić
Type of issue: commemorative
Date of issue: 17 July 2001
Technique: multicolor offset print
Printed by: FORUM - Novi Sad
Paper: chalky
Sheet: 8+1 (3x3)
Perforation: 13 3/4
Face value: 0,50 KM; 1,00 KM
Quantity: 20.000

0.50 KM - Motive: Um national costume of Popovo filed (left below)
0.50 KM - Motive: National costume of bride from Zmijanje (left above)
1.00 KM - Motive: Mountain costume of Bileca (right below)
1.00 KM - Motive: National costume of Lijevce (right above)

Tajikistan - Traditional Costumes 1997

2011-02-15T19:59:00.001+07:00

100 Tajikistani Ruble - Woman from Khujand
100 Tajikistani Ruble - Woman from Darvoz carrying pot
150 Tajikistani Ruble - Man from Khujand (blue coat)
150 Tajikistani Ruble - Man from Darvoz (striped coat)

Bahrain - Bahrain Women's Costumes 1975

2011-02-15T19:58:00.001+07:00

Issued date: 01 February 1975

Ukraine - Traditional Costumes 2001

2011-02-06T18:21:00.005+07:00

Face Value: 20k, 50k
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.0 x 12.75
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 200,000

Ukrainian National Dress - Kyivshchyna Region
On December 20th, 2001; Ukraine issued six (6) stamps depicting the native costumes worn by individuals in diffrent regions during specific folk cultural or religious celebrations.
The first area represented is Kyivshchyna. On the 20k stamp, we see young girls in their embroidered outfits collecting green tree branches for the celebration of "Zeleni Sviata" or Pentecost.
On the 50k stamp, we see a young couple dressed in winter attire going carolling in the village. The young man is carrying a star - signifying the birth of Jesus Christ. In addition, he has a violin. The young lady has a hand-bell.

Ukrainian National Dress - Chernihivshchyna Region
The second area represented is Chernihivshchyna. On the 20k stamp, we see a musical trio - "Troyiisti muzyky" entertaining a young girl. The performing group consist of string, woodwind and percussion instruments.
On the 50k stamp, we see a young couple that have just got married leaving the church with lit candles - the symbol of eternal life. In addition, there is a little boy carrying a religious icon and an embroidered towel for them. These are objects they would consider sacred and would provide them with spiritual support throughout their married life.

Ukrainian National Dress - Poltavshchyna Region
The third area represented is Poltavshchyna. On the 20k stamp, we see the congregation of people by the water's edge for the blessing of the water (Vodokhreshchia). This celebration occurs on January 19th (Julian calendar). We see a priest blessing a young family who have just gotten some water. The little boy is drinking the blessed water
On the 50k stamp, we see two young girls in their embroidered outfits throwing into the water their flower wreaths. They are participating in the ancient midsummer festival, Ivana Kupalo.

Ukraine - Traditional Costumes 2002

2011-02-06T18:21:00.004+07:00

Face Value: 45k
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 300,000

Ukrainian National Dress - Vinychyna Region
On December 6th, 2002; Ukraine issued six (6) stamps depicting the native costumes worn by individuals in diffrent regions during specific folk cultural or religious celebrations. This is a continuation of the Series first started in 2001.
The first area represented is Vinychyna. On the first stamp on the left, we see a young family gathered for the celebration of "Pokrova" or the Transfiguration of the Blessed Virgin. This is a religious celebration dating to the establishment of Christianity in Ukraine. The Kozaks considered her to be their Protectoress. They prayed to her for protection from death prior going to battle. Also, this time is the time when many young couples get married.
On the second 45k stamp, we have the religious celebration of Ascension or "Spasa". Here we have a family going to church to have their fruit(apples, pears), grain, honey and flowers blessed. It was a custom for people to not eat any fruit prior to it first being blessed.

Ukrainian National Dress - Cherkashchyna Region
The second area represented is Cherkashchyna. On the first stamp on the left, we see young girls holding hands and dancing in a circle. They are doing Spring-dances or "Vesnyinaky-hayivky" - welcoming the comming of Spring and the re-birth of life.
On the second 45k stamp, we have a young couple collecting crops from their fields. They are going through the ritual of "Makovyi" - customs and traditions associated with the start of the harvest season.

Ukrainian National Dress - Ternopilska Region
The third area represented is Cherkashchyna. On the first stamp on the left, we see a priest blessing a family during Easter service and saying "Christ is Risen! Indeed He has Risen!
On the second 45k stamp, we have individuals standing outside a church with their Easter baskets.

Ukraine - Traditional Costumes 2003

2011-02-06T18:20:00.007+07:00

Face Value: 45k
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 100,000

Ukrainian National Dress
On 19 Dec 2003; Ukraine issued a 6 new definitive stamps based on its continuous series - Ukrainian National Dress for various customs and traditions.

From the Kharkivshchyna Region, first stamp shows the religious holiday - Annunciation
The second stamp shows the Feast of St. Andrew

From the Sumshchyna Region, first stamp shows a marriage proposal
The second stamp shows the Making of a wedding wreath

From the Donechyna Region and the Start of Lent.
The second stamp shows a Harvest Festival.

Ukraine - Traditional Costumes 2004

2011-02-06T18:20:00.006+07:00

Face Value: 0.60UAH
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 100,000
Date of Issue 10 December 2004

Ukrainian Folk Costumes - The Land of Lviv - The Candlemas Day
Ukrainian Folk Costumes - The Land of Lviv - Exaltation of the Cross
Ukrainian Folk Costumes - The Land of Ivano-Frankivsk - Trio of folk Musicians
Ukrainian Folk Costumes - The Land of Ivano-Frankivsk - Wedding
Ukrainian Folk Costumes - Hutsulschyna - The Holy Evening
Ukrainian Folk Costumes - Hutsulschyna - Christmas

Ukraine - Traditional Costumes 2005

2011-02-06T18:17:00.002+07:00

Face Value: 0.70 UAH
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 100,000
Date of Issue: 20 December 2005

Ukrainain Folk costumes - The Land of Zhytomyr - Melanka and Vasyl Holiday (St. Basil's Day)
Ukrainain Folk costumes - The Land of Zhytomyr - St Zosyma's Day
Ukrainain Folk costumes - The Land of Rivne - St Yuriy's (St George) Day
Ukrainain Folk costumes - The Land of Rivne - St Peter's and St Paul's Day
Ukrainain Folk costumes - Volyn - The Annunciation
Ukrainain Folk costumes - Volyn - St Nicholas's Day

Ukraine - Traditional Costumes 2006

2011-02-06T18:16:00.001+07:00

Face Value: 0.70 UAH
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 100,000
Date of Issue: 15 December 2006

Ukrainian Folk Costumes - The Land of Zaporizhia - St Michael's Holiday
Ukrainian Folk Costumes - The Land of Zaporizhia - Assumption of the Virgin Mary
Ukrainian Folk Costumes - The Land of Kherson - St Catherine's Holiday
Ukrainian Folk Costumes - The Land of Kherson - St Elias Holiday
Ukrainian Folk Costumes - The Land of Odesa -St Barbara's and St Sava's Holiday
Ukrainian Folk Costumes - The Land of Odesa -St Borys and St Hlib Holiday

Ukraine - Traditional Costumes 2007

2011-02-06T18:14:00.002+07:00

Face Value: 0.70 UAH
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 100,000
Date of Issue: 22 December 2007

Ukrainian Folk Costumes - The Land of Khmelnytskyi - Christmas Carol
Ukrainian Folk Costumes - The Land of Khmelnytskyi - St Simeon Holiday (beginning of real Autumn)
Ukrainian Folk Costumes - Bukovyna - St Ephrosinia Holiday
Ukrainian Folk Costumes - Bukovyna - Ascension
Ukrainian Folk Costumes - Transcarpathia - Kuzma and Demyan Holiday (day of Winter meeting)
Ukrainian Folk Costumes - Transcarpathia - Radunytsa (Easter funeral feast)

Ukraine - Traditional Costumes 2008

2011-02-06T18:08:00.001+07:00

Face Value: 1.00 UAH
Colour: Multicolour
Design: Mykola Kochubei
Printing Method: Offset
Printers: "Derzhznak" - Kyiv
Perforation: 13.25 x 13.25
Sheet: 8 (2 x 4)
Stamp Size: 30 x 33 mm
Issue: 100,000
Date of Issue: 25 December 2008

Ukrainian Folk Costumes - The Crimea - Holiday of the Holy Transfiguration of Our Lord Jesus Christ
Ukrainian Folk Costumes - The Crimea - Christening
Ukrainian Folk Costumes - The Land of Dnipropetrovsk - Wedding Ceremony
Ukrainian Folk Costumes - The Land of Dnipropetrovsk - Harvest Festival
Ukrainian Folk Costumes - The Land of Luhansk - Cyril and Methodius Day
Ukrainian Folk Costumes - The Land of Luhansk - Spyrydon the Wonder - Worker

Ukraine - Traditional Head Dresses 2006

2011-01-29T14:18:00.002+07:00

Traditional head-dresses of Ukrainian:
Country / Post: Ukraine
Date of Issue: 30 March 2006
Width: 40.0 mm
Height: 41.7 mm
Denomination: 0.70 UAH
Number in set: 12 (show set)
Layout/Format: sheet of 12 of 12 designs
Perforations: 11.5 by 11.5
Stamp issuing authority: Ukrainian State Enterprise of Posts Ukrposhta
Printer: Ukraina Plant

0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Ubrus and the Fur Cap - The Kyivan Rus
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Kerchieves - The Land of Kyiv
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Namitka - The Western Polissia
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Garland - The Land of Poltava
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Kerchief - The Land of Hutsul
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Koda - Bukovyna
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Kerchief - Central Ukraine
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Ochipok - The Land of Poltava
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Namitka - The Land of Hutsul
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Ochipok - The Land of Poltava
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Kerchief over the Ochipok - The Land of Chernihiv
0.70 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainian Women - The Garland - The Land of Ivano-Frankivsk

Ukraine - Traditional Head Dresses 2007

2011-01-29T14:15:00.003+07:00

Traditional head-dresses of Ukrainian:
Country / Post: Ukraine
Date of Issue: 23 August 2007
Width: 40.0 mm
Height: 41.7 mm
Denomination: 0.70 UAH
Number in set: 12 (show set)
Layout/Format: sheet of 12 of 12 designs
Perforations: 11.5 by 11.5
Stamp issuing authority: Ukrainian State Enterprise of Posts Ukrposhta
Printer: Ukraina Plant

0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, unknown origin
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Polissy
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Ivano-Frankivsk
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Lviv
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Kyiv
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Ampyx and plaitings, The Land of Ivano-Frankivsk
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Lviv
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Hat, The Land of Ivano-Frankivsk
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Ternopil
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Hat, The Land of Ternopil
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Garland, The Land of Ivano-Frankivsk
0.70 Ukrainian Hryvnia - Traditional Wedding Head-dresses of Ukrainians - Hat, The Land of Ternopil

Ukraine - Traditional Head Dresses 2008

2011-01-29T14:12:00.002+07:00

Traditional head-dresses of Ukrainian:
Country / Post: Ukraine
Date of Issue: 10 December 2008
Width: 40.0 mm
Height: 41.7 mm
Denomination: 1.00 UAH
Number in set: 12 (show set)
Layout/Format: sheet of 12 of 12 designs
Perforations: 11.5 by 11.5
Stamp issuing authority: Ukrainian State Enterprise of Posts Ukrposhta
Printer: Ukraina Plant

1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Ochipok and Kerchief, the Land of Cherkasy
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Peremitka, The Land of Ternopil
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Wedding Head-dress, The Land of Ternopil
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Namitka, The Land of Rivne
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Blackthorn Kerchief, Hutsulschyna
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Caul and Kerchief, Lemkivschyna
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Wedding head-dress. Pokuttia
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Peremitka, The Land of Rivne
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Bavnytsia and Kerchief, The Land of Lviv
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Krysan, Hutsulschyna
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - Ochipok, The Land of Lviv
1.00 Ukrainian Hryvnia - Traditional Head-dresses of Ukrainians - "Magerka" Man Head-dress, The Land of Rivne

Sweden - Traditional Costumes 1979

2011-01-06T20:14:00.002+07:00

National Costumes

There is evidence that national costumes have been worn in Sweden since the 17th century.
All over the country costumes with local characteristics were worn by the farmers and peasants until the middle of the 19th century.
There could be several variations of one costume in the same village. Dress for festive occasions differed from the every-day garments.

The provinces of Scania and Dalecaria were the richest in variations of regional dress.
They are represented in the stamps by a woman from western. Gonge and a young girl from Mora respectively. Both are in church dress.

The apparel would always show whether a woman was married or single, either in variation of hair style or head dress. Especially, a married woman was not to show her hair.
In most parts of Sweden the outer garment for a woman was a jersey that come down to her waist.

The women from Osterker is holding a child in her arms ready to carry it to the christening font. The bible-reading woman comes from Ljusdal and she is dressed for church.

Brooches were an important part of the costume. The one in the 90-one stamp come from the province of Jamtland and the cross in the 1.30kr stamp comes from the province of Smaland.

Day of issue: 15 November 1979
Value: 90dre; 1.30kr
Artists: J.W.Wallander, Otto Wallgren
Engravers: Majvor Franzein-Matthews, Martin Morck
Photos: The Nordic Museum
Printing Process: Recess, Photogravure
Printed at: The Post Office Stamp
Printing work: Joh Enschede en Zonen, Holland

Ethiopia - Traditional Costumes 1968

2011-01-03T22:04:00.002+07:00

0.05 Ethiopian Santim - Costume from Arrussi
0.15 Ethiopian Santim - Costume from Gemu Gofa
0.20 Ethiopian Santim - Costume from Godjam
0.30 Ethiopian Santim - Costume from Kaffa
0.35 Ethiopian Santim - Costume from Harar
0.50 Ethiopian Santim - Costume from Illubabor
0.60 Ethiopian Santim - Costume from Eritrea

Ethiopia - Traditional Costumes 1971

2011-01-03T22:02:00.002+07:00

0.05 Ethiopian Santim - Costume from Begemedir and Semain
0.10 Ethiopian Santim - Costume from Bale
0.15 Ethiopian Santim - Costume from Wolega
0.20 Ethiopian Santim - Costume from Showa
0.25 Ethiopian Santim - Costume from Sidamo
0.40 Ethiopian Santim - Costume from Tigre
0.50 Ethiopian Santim - Costume from Wello

Nepal - Traditional Dances 1976

2011-01-01T15:54:00.002+07:00

0.10 Paisa -
0.15 Paisa - Maruni Dance
0.30 Paisa - Jhangad Dance
1.00 Rupee - Sebru Dance

Venezuela - Folk Dances 1966

2011-01-01T15:34:00.001+07:00

0.05c - Tape or Stick Tape Dance
0.10c - Candlemas
0.15c - Chichamaya
0.20c - Carite
0.25c - “Round Drum”
0.35c - Devil Dance, Feast of Corpus Christi
0.40c - Tamunanque (air)
0.50c - Parranda de San Pedro
0.60c - Las Turas
0.70c - Joropo
0.80c - Chimbanguele
0.90c - “The Shepherds”

Poland - 100th Anniversary of the death of Stanisław Moniuszko 1972

2011-01-01T14:48:00.001+07:00

Stanisław Moniuszko (1819-1872), Polish conductor, composer, author of songs, operas and ballets filled with patriotic and Polish folk themes.

0.10 Polish Groszy - Na kwaterunku = On the billel.
0.20 Polish Groszy - Hrabina = The Countess.
0.40 Polish Groszy - Straszny Dwór = The Haunted Manor.
0.60 Polish Groszy - Halka = Halka.
1.15 Polish Złoty - Nowy Don Kiszot czyli Sto Szaleństw = The new Don Quixote or a hundred follies.
1.35 Polish Złoty - Verbum Nobile = Verbum Nobile (Latin: A nobleman's word).
1.55 Polish Złoty - Ideal = Ideal.
2.50 Polish Złoty- Paria = Pariah.

Jordan - Jordan Universities 2009

2011-01-01T14:41:00.002+07:00

Issued on 07 October 2009

Laos - Traditional Dances 1969

2010-12-31T12:50:00.002+07:00

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”

Tokelau - Handicrafts 1982

2010-12-29T21:42:00.003+07:00

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

Dahomey - Traditional Dances

2010-12-27T21:38:00.005+07:00

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

2010-12-27T21:16:00.002+07:00

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.

Cambodia - Best Wishes Dances, Apsara Dances 2008

2010-12-23T05:41:00.000+07:00

Cambodia - Khmer Culture, The Reamker 2006

2010-12-23T05:40:00.001+07:00

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

2010-12-23T05:39:00.001+07:00

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

2010-12-23T05:38:00.000+07:00

Cambodia - Apsara Dances 2005

2010-12-23T05:37:00.000+07:00

Algeria - Traditional Dances 1986

2010-12-22T20:32:00.001+07:00

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

2010-12-22T20:31:00.001+07:00

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

Algeria - Traditional Dances 1999

2010-12-22T20:29:00.002+07:00

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

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

2010-12-19T17:58:00.004+07:00

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

Uzbekistan - Uzbek Women National Suit 2000

2010-12-18T09:23:00.001+07:00

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

2010-12-18T09:22:00.002+07:00

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

2010-12-18T09:14:00.002+07:00

Rwanda - African Headdresses 1969

2010-12-18T09:12:00.002+07:00

Rwanda - African National Costumes 1970

2010-12-18T09:10:00.001+07:00

Rwanda - African Headdresses 1970

2010-12-18T09:09:00.002+07:00

Rwanda - National Culture 1973

2010-12-18T09:08:00.000+07:00

Rwanda - African Headdresses (Africa Week) 1973

2010-12-18T09:06:00.001+07:00

Rwanda - Traditional Costumes, Themabelga 1975

2010-12-18T09:04:00.001+07:00

India - Rath Yatra Puri Festival 2010

2010-12-18T08:44:00.003+07:00

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!