South Korea 2019 - Taegeukgi in History

Technical Details:
Date of Issue: 14 August 2019
Stamp Size: 36 mm x 26 mm
Perforation: 13¾ X 13¼
Denomination: 380 Korean Won
Quantity: 1,120,000.-
Printer: White Underwatermarked
Printing Process & Colors: Offset, Four Colors
Printer: Southern Colour Print for POSA
Designer: Ryi Jihyeong

Taegeukgi in History:

Taegeukgi is renowned as the most philosophical of all the national flags in the world. But did you know that up until 100 years ago, many different types of Taegeukgi existed? Korea Post is issuing commemorative stamps that feature the different faces of Taegeukgi that most people are unfamiliar with.

In the later years of the Korean Empire, King Gojong bestowed a gift to a United States diplomatic advisor named Denny. The gift was none other than Taegeukgi, which came to be known as O. N. Denny`s Taegeukgi. This oldest extant Taegeukgi is estimated to have been made in 1890 and is currently held at the National Museum of Korea.
The wave of modernization that started with the proclamation of the Korean Empire in 1897 prompted the creation of Taegeukgi for educational purposes. For example, Taegeukgi at Seongyojang House, Gangneung is known to have been created and used by the students of Dongjin School in Gangneung in the early 1900s. Myeongsin School for Girls (presently Sookmyung Girls’ Middle School and High School) also created their own Taegeukgi in 1906 when the Honorable Princess Consort of the Eom Clan founded the school. Also, Taegeukgi of Dongduk Women s Academy was flown on the foundation day of the school in 1908.

Sadly, the loss of national sovereignty took place almost concurrently with modernization. Under the Japanese occupation, Taegeukgi became a symbol of resistance. The Japan-Korea Treaty of 1905, also known as the Eulsa Unwilling Treaty, enraged many, including Go Gwang-sun, a general of the righteous army. In 1907, General Go created Taegeukgi with Chinese Characters Meaning Liberation is Not Far Off and led the anti-Japanese movement.

While the creation of Taegeukgi Woodblock, which had Taegeukgi engraved on a woodblock, enabled the mass production of Taegeukgi for the March 1st movement, Taegeukgi Embroidered by Nam Sang-rak was made by the independence activist Nam Sang-rak who hand-stitched the entire flag on silk and used it as part of the Korean independence movement on April 4, 1919. Taegeukgi at Jingwansa Temple was said to have been made by the monks who participated in the March 1st movement.

Taegeukgi of the Provisional Korean National Council were donated by the family of Kim Bung-jun, who served as the president of the Provisional Korean National Council. These Taegeukgis are precious artifacts that represent the changes made to Taegeukgi during the time of the Provisional Korean National Council.

Korean people s yearning for independence reached the United States through Taegeukgi. Taegeukgi with Chinese Characters Meaning Long Live Korean Independence! on a triangular pennant and Taegeukgi with Kim Gu`s Writings and Signature which Kim Gu gave to Maeusa, a Catholic priest who was leaving for America, clearly prove how the spirit of independence was alive both inside and outside Korea.

Korea finally gained independence on August 15th 1945, and the oaths for the continuing effort to regain full sovereignty are written on Taegeukgi with Writings and Signatures of the Soldiers of the Korean Liberation Army.

The Korean peninsula was again swept up in turmoil with the onset of the Korean War on June 25th 1950. Taegeukgi with the Writings and Signatures of Gyeongju Student Soldiers which represents the iron will of the student soldiers, and Yi Cheol-hui`s Taegeukgi with Chinese Characters Meaning Outbreak of War, which illustrates the army s forward passage and their military spirit, can be viewed at the Independence Hall of Korea in Cheonan.

During the Second Battle of Seoul, a U.S. marine named Busbea was handed a Taegeukgi by Korean citizens. This Taegeukgi, which is called Taegeukgi Donated by A. W. Busbea, a U.S. Marine can be found at the Hanam Museum of History.

These sixteen images on the commemorative stamps display the history of Taegeukgi, in which Koreans spirit and yearning for independence breathe soundly. As we celebrate the upcoming Independence Day, we hope that these stamps will provide everyone with the chance to reflect on our history and show profound gratitude to those who fought for the country s independence and freedom

O.N. Denny's Taegeukgi 
Taegeukgi of Myeongsin School for Girls
Taegeukgi with Chinese Characters Meaning "Liberation is Not Far Off"
Taegeukgi of Dongduk Women's Academy
Taegeukgi at Seongyojang House, Gangneung
Taegeukgi Woodblock
Taegeukgi at Jingwansa Temple
Taegeukgi Embroidered by Nam Sang-rak
Taegeukgi of the Provisional Korean National Council 1
Taegeukgi of the Provisional Korean National Council 2
Taegeukgi with Kim Gu's Writings & Signature
Taegeukgi Chinese Character's Meaning "Long Live Korean Independence"
Taegeukgi with the Writings & Signatures of the Soldiers of The Korean Liberation Army
Yi Cheol-hui's Taegeukgi with Chinese Characters Meaning "Outbreak of War"
Taegeukgi Donated by A.W. Busbea, a US Marine
Taegeukgi with Writings & Signatures of Gyeongju Student Soldiers

South Korea 2017 - UNESCO Intangible Cultural Heritage (Namsadang Nori)

Technical Details:
Date of Issue: 27 October 2017
Design: Deolmi, Pungmul & Mudong (Shoulder Ride)
Stamp Size: 52 mm x 21 mm
Denomination: 330 Korean Won
Quantity: 250,000.-
Printing Process & Colors: Offset, Four Colors
Sheet Composition: 2+ (2x4)
Perforation: 13¾ X 13¼
Printer: White Underwatermarked
Designer: Kim Sojeong

UNESCO Intangible Cultural Heritage (Namsadang Nori)

Namsadang Nori (National Intangible Cultural Heritage) literally means the all-male vagabond clown theatre.  It is a traditional folk performance of various genres, such as musical instrument performances, dance, play and acrobatics, staged in an outdoor area.  In September 2009, Namsadang Nori was inscribed on the Representative List of the UNESCO Intangible Cultural Heritage of Humanity, and thus the value has been recognized around the world.  Namsadangpae , which performs Namsadang Nori by traveling around the country, is a theatrical troupe comprised of people from the lower classes in the Joseon Dynasty.  Led by Ggokdusoe, Namsadangpae features 40-60 members including Gombaengisoe, a performance planner, Ddeunsoe, a person in charge of performances in each genre, Gayeol, a performer, Bbiri, an entry level member, and "Jeoseungpae, a senior member, as well as young errand boys and porters who carry the equipment.  All members have been trained under a strict order of rank and hand down the skills systematically.  Namsadang Nori is made up of six components: Pungmul, a segment of farmers music to attract people by playingthe percussion, such as gongs, double-headed drums and animal hide drums; Beona, a display of hoop-spinning with a wooden stick; Salpan, an acrobatic segment performed on the ground with comic dialog and music; Eoreum, a tightrope walking act where an acrobat on a high-wire is engage in witty exchanges with a clown below; Deotboegi, a mask dance depicting people from different social classes; and Deolmi, a puppet play where puppets on the stage exchange jokes with musicians.  Namsadang Nori was not just about providing enjoyment to the audience.  It spoke for the weak and sent messages by satirizing irration alities of the time and exposing social problems.  In particular, Deotboegi, a mask dance, and Deolmi, a puppet play, raised the morale of oppressed lower-class citizens and women by satirizing and making a mockery of the incompetent and corrupt aristocrats, and critizing tyranny of men under patriarchy.

Oman 2019 - Traditional Omani Music

Music enthusiasts and philatelists alike are in for a very special treat from Oman Post after the company launched four interactive stamps celebrating the deep roots and variety of Oman’s traditional music and performance arts. Offering an augmented reality experience through the Oman Stamp App, the stamps pays homage to time-honoured country traditions. They can now be reserved by emailing Oman Post on: philatelic@omanpost.om

The stamps feature four performing arts, as follow:

The first is Al Azi, a traditional Omani music performed in various styles all over the Sultanate, and accompanied by dancing and recitation of poetry. The second, Al Rawah, a drummers-based performance originating from Musandam, usually performed by men and women during weddings.

The most unique characteristic about this dance is its name, which changes according to the time it is performed. It is called ‘Serh’ in the morning, ‘Sudar’ during mid-day, ‘Rwah’ in the afternoon, and mostly known for its evening time name of ‘Siri’. 

The third stamp highlights the Barghoum, a blowing instrument, made from the horns of wild goats or Oryx, which gives no more than two musical tones.

The fourth and final stamp showcases two rhythmic musical instruments, the Kasir, known for its technical aesthetic role in performing basic rhythmical beats, and the Rahmani, which provides a deep pitch in all different patterns of traditional Omani music.

Curacao 2019 - Musical Heritage of Curacao

Technical Details:
Date of Issue: 16 October 2019

Mongolia 1961 - Culture And Art

Technical Details:
Date of Issue: 16 September 1961
Size: 43 mm x 33 mm ; 33 mm x 43 mm
Printing: Intaglio
Perforation: 12 : 11 1/2

With scenes of achievment and progress of sector of culture and art for 40 years since people's revolution.

North Korea 2019 - Folk Customs of the Korean Nation

Technical Details
Date of Issue: 01 December 2019
Size: 100 x 52mm, 50 x 30mm (stamp)
Denomination: 50 won x 4
Designer: Kim Hae Yong, Ri Jin Hyok
Quantity: 30,000 (Perforation) ; 1,000 (Imperforation) ; 500 (FDC)

The Korea Stamp Corporation has published a stamp series showing “Folk Customs of the Korean Nation”.

According to the KSC the “stamps were issued to reflect the unique food culture of the Korean nation. The stamps portray the peculiar dietary custom of the Korean people.”

The stamps in the series have the following value/ design:
50 Won - Pressing Noodles
50 Won - Making Bean Paste
50 Won - Making Kimchi
50 Won - Pounding Cereal Cakes

North Korea 2019 - Korean Folk Customs

Technical Details:
Date of Issue: 22 November 2019
Size of Stamp: 59.5 x 31.5 mm
Denomination: 50 won x 4
Price: $2.00 (4 stamps perf)
Designer: Kim Won Myong, Kang Chol U
Printing: Offset
Sheet Composition: 4 x 5
Quantity: 30.000 (Perforation) ; 2.000 (Imperforation)

The Korea Stamp Corporation has published a stamp series showing Korean folk customs from “the period of the feudal Joson dynasty” and Koguryo.

According to Korea Stamp Corporation, “Folk games Koreans have played traditionally include hunting contest, ssirum (Korean style of wrestling), tug of war, jumping seesaw, swinging, janggi (Korean chess), paduk (go), yut, konu, singing and dancing by peasants, top-spinning, rope skipping, kite flying and sleighing.” The Korean terms for these activities are 사냥경기, 씨름, 바줄당기기, 널뛰기, 그네뛰기, 장기, 바둑, 윷놀이, 고누, 농악놀이, 팽이치기, 줄넘기, 연띄우기 and 썰매타기.

The stamps in the series have the following value/ design:

50 Won - Hunting contest (In The Period of Koguryo)
50 Won - Ssirum (Korean Wrestling) (In The Period of The Feudal Joson Dynasty)
50 Won - Tug of War (In The Period of The Feudal Joson Dynasty)
50 Won - Jumping Seesaw (In The Period of The Feudal Joson Dynasty)

Mongolia 2019 - Intangible Cultural Heritage

Technical Details:
Date of Issue: 22 November 2019
Size of Stamp: 190 mm x 180 mm ; 78 mm x 108 mm (SS)
Printing: Offset Lithography

Intangible Cultural Heritage:
100 Mongolian Tögrög - Mongolian Calligraphy
200 Mongolian Tögrög - Falconry, A Living Human Heritage
300 Mongolian Tögrög - Mongolian Knuckle Bone Shooting
400 Mongolian Tögrög - Mongol Bilyegee, Mongolian Traditional Folk Dances
700 Mongolian Tögrög - Traditional Music of the Tsuur
2000 Mongolian Tögrög - The Traditional Music of Morin Khuur
2000 Mongolian Tögrög - Urtiin Duu, Traditional Folk Long Song

Argentina 2019 - Tango Dances

Date of Issue: 26 August 2019

Argentina 2005 - Joint Issue with Thailand, Dances

Technical Details:

Date of Issue: 05 February 2005
Width: 34.00 mm
Height: 44.00 mm
Denomination: 0.75 ARS
Number in set: 2 (Show Set)
Layout/ Format: Sheet of 20
Perforations: 14 by 14
Stamp Issuing Authority: Correo oficial de la Republica Argentina SA
Printer: Letra Viva SA, Buenos Aires

Subject: Argentina - Thailand - 50 Years of Bi-lateral Relations

Argentina 2001 - Tango & Kabuki Theater, Japan Philatelic Exhibition

Technical Details:
Date of Issue: 28 July 2001
Size: 40 x 30 mm
Colors: Multicolor
Format: Stamp
Emission: Commemorative
Perforation: comb14
Printing: Offset Lithography
Face value: 75 ¢ - Argentine Centavo
Print Run: 104,000

2001 Japan Philatelic Exhibition (Tango and Kabuki Theater)

Argentina 2003 - A Mask,World Philatelic Exhibition BANGKOK 2003

Technical Details:

Date of Issue: 04 October 2003
Width: 30.00 mm
Height: 40.00 mm
Denomination: 0.75 ARS
Number in Set: 2 (show set)
Layout/ Format: Miniature Sheet of 2 of 2 designs
Perforations: 14 by 14
Stamp Issuing Authority: Correo Argentino SA
Printer: Letra Viva SA, Buenos Aires

Subject: World Philatelic Exhibition BANGKOK 2003:

0.75 Argentine Pesos - A mask representing the black demon

0.75 Argentine Pesos - A mask representing a spirit that celebrates the return of Prince Vessandorn

Austria 2019 - Traditional Costume of Flachgau

Technical Details:
Issue Date: 25 October 2019

About The Traditional Costume of Flachgau
The focus of the “Classic traditional costumes” series on this occasion is the dirndl from Salzburg’s Flachgau region. This traditional costume for everyday wear impresses with its fresh colours and its typical cut.

The traditional everyday dirndl
The traditional costume of Flachgau is a new version of the costume, with considerable freedom in the design to encourage variety and to enable the traditional costume to be incorporated into everyday wear as easily as possible. Characteristic features are the square neckline at the front of the bodice and the narrow central flap fastened with buttons. The costume is made from linen, cotton or mixed-fibre fabrics, either in a single colour or with a floral or checked pattern, with the colour of the skirt coordinating with the bodice. Depending on the pattern of the fabric, either the flap or the edging on the hem is often decorated with monochrome piping. Alternatively, taking inspiration from the costume for special occasions, the bodice with the central flap is replaced with a linen laced corset with a wide front aperture, a seam dividing the back section and incorporated straps. The lacing eyelets of the corset are often elaborately designed in alloys of gold orsilver. For special occasions there is also the “Festtracht” made of silk or brocade, thebodice of which is embroidered with floral motifs and decorated with velvet.

The traditional costume of Flachgau shown on the special stamp comprises a red linen bodice with a herringbone weave and a coordinating printed skirt with an edging in the same colour as the bodice. It is worn with a light-green cotton apron decorated with a scattered flower motif and fastened with a wide bow. The plain white blouse with short sleeves and the red piping on the square neckline and sleeves complete the dirndl.

As varied as the region
Flachgau is the most northerly region of the province and surrounds the capital city Salzburg. With its lakes, basins and mountains, it offers considerable variety, and the regional variants of the traditional dress are just as varied as the landscape. One of the best-known versions of the dirndl from the Flachgau region is the Henndorf dirndl. It isoften made from blue checked material (“bedding” material) and the central flap isfastened with buttons. The apron is not tied in a bow, as is usual, but is instead attached to the dirndl with buttons.

Austria 2019 - Traditional Costume of Carinthia

Technical Details:
Issue Date: 27 June 2019

About The Traditional Costume of Carinthia

The Blue Spotted Dirndl
This time, the special stamp from the popular “Classic traditional costumes” series is dedicated tothe traditional costume of Carinthia, which is worn throughout the federal province.

A simple dress made of dark blue cotton with white spots is fastened with silver buttons. The hemline is trimmed with red. Above the rounded neckline a simple white blouse peeps out, the medium-length sleeves of which are decorated with a lace border. A monochrome black cotton apron rounds off the costume, although a white apron decorated with tendrils of red and blue flowers can be worn instead. Married women wear the bow on their apron tied on the right-hand side; unmarried ladies, on the left. On special occasions the traditional costume is also worn with a long skirt and a fancy blouse with longer, puffed sleeves, gathered below the elbow and with decorative stitching on the shoulders.

The pattern of the spotted material was created out of necessity: there was not enough money to allow for an elaborate design when dyeing the fabric blue, so wooden nails were hammered into a board. During the staining process pressing these into the fabric prevented the colour from being taken up, and in this way, the white spots were created.

The Designer behind the Costume
Prof. Leopold Resch, a well-known traditional artist, sculptor and researcher into traditional costumes was one of the co-founders of the provincial association of Carinthia and the Carinthian State Museum. In 1911 he was tasked with designing a traditional men’s costume for Carinthia by theprovincial association, to replace the grey Styrian suit, which, until then, was also worn in Carinthia. He subsequently designed the nut-brown Carinthian suit with its green collar and trim, worn with a black waistcoat decorated with small flowers, which is still the traditional costume for Carinthian men to this day. Resch then designed the blue spotted dirndl, referred to in honour of its designer as the Resch-dirndl, as the traditional costume for women.

Traditional costumes remain extremely popular to this day. In addition to the traditional costume for the entire province of Carinthia, there are around eighty other officially registered variants of traditional dress to be found in Austria’s most southerly province.

Iceland 2010 - Norden by the Sea, Life at the Coast

Technical Details:
Issue Date: 18 March 2010
Designer: Elsa Nielsen, EnnEmm
Printer: Joh. Enschedé Security Print
Process: Offset Litho
Colours: 4-colour offset
Size: 105 x 70 mm
Values: 150.00 ISK

About Norden by the Sea. - Life at the Coast

A new series of Nordic stamps with the theme Norden by the Sea commences with the present souvenir sheet. The Nordic countries are separated, or united, by the water surrounding them. The coasts offer great variation, with long stretches of sandy beaches or smooth rocks. The people living along the coasts have always adapted to and drawn on their proximity to the sea. New enterprises are springing up alongside the traditional industries of shipping and fishing, for example. Energy production, fish farming and tourism are just some of the businesses that are growing ever more important in our coastal areas. Few nations depend more on ocean and coastal preservation than Iceland. Using strict measures Iceland managed to put an end to overfishing and reduce ocean pollution. Important fish stocks were strengthened. The first herring factories were erected in Siglufjörður and the herring boom bolstered the Icelandic economy. Close contact with harsh nature demands that Iceland makes sustainable use of living ocean resources.

Iceland 2019 - The Icelandic Postal Workers Union - 100th Anniversary

Technical Details:
Issue Date: 07 February 2019
Designer: Örn Smári Gíslason
Printer: Cartor Security Printing
Process: Offset Litho
Size: 30 x 40 mm
Values: 50g domestic

About The Icelandic Postal Workers Union - 100th Anniversary

The Icelandic Postal Workers Union was founded in Reykjavik on March 26, 1919. The history of Icelandic postmen can be traced back to 1776 when King Christian VII issued a directive establishing domestic postal services in Iceland. The first Icelandic mailman was Ari Guðmundsson, who travelled extensively with mail through the forbidding mountain regions of the Westfjords.

When the union was formed, the Icelandic labour movement was in its early stages. Iceland had recently gained sover­ eignty and there was a general sense of social recovery and revival. In 1932, its members were 73 in number, but today they number 900. The union ́s main task is to safeguard the interests of Icelandic postal workers and to ensure improve­ ments in their working conditions.

The Icelandic Postal Workers Union has grown a lot in stature with its growing membership numbers. It is now one of the strong pillars of the Federation of State and Municipal Employees (BSRB) and an important force in the labour movement. In 2001, only one quarter of the members were still employed by the official Post and Telephone, which on January 1, 1997, made way for Post and Telephone Ltd. and a year later Iceland Post. Despite these changes, the union continues to promote social justice and foster human values.

Iceland 2017 - SEPAC, Handcraft - The Icelandic Sweater

Technical Details: 
Issue Date: 27 April 2017
Designer: Elsa Nielsen
Printer: Joh. Enschedé Security Print
Process: Offset Litho (CMYK)
Size: 30 x 30 mm
Values: 50g

About SEPAC - Handcraft - The Icelandic Sweater

The joint SEPAC stamp motif is local or typical handcraft. The Icelandic stamp features an Icelandic sweater. The pattern shown, ”Álafoss pattern no. 51”, is a very characteristic one. It was probably affected by foreign knitting traditions introduced by magazines on embroidery and fashion. The Greenland national dress and Norwegian knitting patterns may also have influenced the pattern. When Icelandic women began to adopt foreign knitting patterns and work on them according to the properties of the local material, Icelandic sweaters started resembling their foreign models, but its patterns and colors were coarser. This was due to the yarn being more fragile than the spun band. Sweaters were therefore usually knitted from three threads simultaneously. This made the garment warmer and more durable. The sweater became standardized in its traditional form in the late sixties. In the seventies, it became a popular export. It became less popular in the eighties, but now it seems to have regained its former popularity, especially among foreign tourists. The sweater has its special woolen character and its roots in the culture of contemporary Icelanders are quite solid.

Malaysia 2013 - The Baba & Nyonya Heritage

Technical Details:
Date of Issue: 29 November 2013
Stamp Value: 60 sen (setenant), 80 sen (setenant)
Miniature Sheet Value: RM5.00
Stamp Size: 30mm x 48mm
Perforation: 14
Miniature Sheet Size: 85mm x 100mm
Stamp Size In Miniature Sheet: 50mm x 60mm
Sheet Content: 20 Stamps
Paper: Yellow Green Phosphor 102gsm
Printing Process: Litography
Printer: Cartor Security Printing
Stamp Designer: Reign Associates Sdn Bhd

The Baba & Nyonya Heritage
The Babas & Nyonyas referred to the descendants of late 15th to 19th century Chinese immigrants to the Malay archipelago. Baba is the address for the men, and Nyonya for the women.

The Babas & Nyonyas are partially assimilated into the Malay culture, especially in food, dress and spoken language, while retaining some of the Chinese traditions and culture such as religion, name, folk medicine and festivals.

60sen - Nyonyaware
Nyonyaware is characterized by its decorative motives and the most vivid and colourful familiar rose enamels. The stamp features a covered jar called ‘kamcheng’ – variously used as a container for water, pickles and other types of food. Also featured are ceramic spoons, plate and cups with features of phoenix and peonies – symbols of prosperity and good fortune.

60sen - Nyonya Beaded Slippers
The beaded slippers is one of the most popular Nyonya object still found today. The technique of making such footwear is also one of the few crafts leftover from the golden age of the Baba & Nyonya. The beaded slippers were either opened face or covered. The popular motives used for the pattern were flowers, birds, butterflies and fruits.

80sen - Malacca Peranakan Townhouse
The typical Baba & Nyonya townhouse features neo-classical pediments, pillars and stucco decorations over windows, combined with the local tradition of timber craftsmanship. House fronts are usually heavily decorated with brightly colored hand-painted tiles and Chinese characters painted in gold on large black backgrounds. The Baba & Nyonya Heritage Museum on Jalan Tun Tan Cheng Lock in Malacca showchases on of the most well-preserved 19th century Baba & Nyonya residence.

80sen - Baba & Nyonya Wedding Attire
The wedding costume is colourful and elaborate. The headdress worn by the bride is made out of more than a hundred gold and silver hair pins that are put into the hair to form a crown. On her chest and wrists she wears numerous jewelry and accessories. The costumes are made from damask silk and either couched with gold thread or covered with coloured thread embroidery. The groom’s jacket and hat are that of the Manchu gentry of old China. he has a traditional Chinese fan on his hand and boots as footwear.

MS RM5 - Nyonya Kebaya Embroidery
The Nyonya kebaya first appeared only in the early 20th century. The early versions features rather simple embroidery work, but later, especially from the 1960s onwards, a more exquisite and intricate embroidery began to emerge. While the early kebayas are hand sewn, the Nyonya kebaya today is embroidered using the sewing machine with flower motives being the favourite theme. The miniature sheet feature a Nyonya kebaya, which won the UNESCO Award of Excellence for Handicraft 2012. The stamp within the miniature sheet feature a composition of Malaysian fruit, with holes cut on the paper resembling the embroidery.

Technical Details:
Date of Issue: 01 December 2014
Denomination: RM 50
Stamp Size: 25 mm x 35 mm x 0.1 mm
Weight: 1.46 +/-0.05g
Metal: Copper Plated with 22 K Gold
Technique: Stamping
Special Feature: Fine and Elegant Stamping
Printing: Cartor Security Printing
Designer: Pos Malaysia Berhad
Acknowledgements: Muzium Negara, Persatuan Baba & Nyonya Kuala Lumpur, Cedric Tan, Lim Swee Kim, Baba Nyonya Heritage Museum

 

Technical Details:
Date of Issue: 12 February 2015
Denomination: RM 35
Miniature Sheet Size: 85 mm x 100 mm
Stamp Size: 50 mm x 60 mm
Technique: Lithography & Embroidery
Paper: Yellow Green Phosphor 103gsm
Printing: Cartor Security Printing
Designer: Reign Associates Sdn Bhd
Acknowledgements: Persatuan Baba & Nyonya Kuala Lumpur, Cedric Tan, Lim Swee Kim

South Korea 2019 - The Style of Hanbok

Technical Details:
Date of Issue: 09 September 2019
Quantity: 672,000
Denomination: KRW 380
Printing Process: Offset 4 Colors
Size of Stamp: 30 mm x 40 mm
Image Area: 38.5 mm x 40 mm
Perforation: 13 1/4 x 13
Sheet Composition: 4 x 4 (165 mm x 185 mm)
Paper: White Unwatermarked
Designer: Shin Jaeyong
Printer: Southern Colour Print for POSA
Stamp: 
380 Korean Won - The 1500s Hanbok
380 Korean Won - The 1600s - 1700s Hanbok
380 Korean Won - The 1800s Hanbok
380 Korean Won - The 1900s Hanbok

The Style of Hanbok

Korea Post is issuing commemorative postage stamps to promote the exquisite beauty of the hanbok which the world has great admiration for and also to nurture Korea's clothing culture.

While the hanbok has gone through a number of changes in keeping with the times, it is the only traditional attire in the world that has retained its fundamental structure. The men's hanbok isi comprised of Jeogori, Baji, Po, and Gwanmo for the head. The most basic components of the women's hanbook are Jeogori and Chima while the full attire can be completed with the addition of the beoseon, a tie belt, and shoes.

Referring to the traditional clothing artifacts from the 16th to 20th centuries, we have created commemorative stamps that feature the transformations of the hanbok over time. As the hanbok signified the wearer's social status in the 16th century, it was designed to impress, boasting both a great length and width, regardless of the wearer's physique. Thus, after the Japanese invasion, the 17th century saw distinctively practical changes to the design of the hanbok.. Jeogori was narrowed and shortened so that it hovered above the waist of the Chima, which made it possible to produce more clothes with a lesser amount of material. In the later period of Joseon in the 19th century, through the reign of Yeongjo and Jeongjo, the design of the hanbok became more diversified while the basic structure consisted of a close-fitting Jeogori and a wide bottom with the shape of a bell. A Jang-ot, an outerwear worn by upper class women, acquired another use as the women began to wear it as a veil to cover their faces. On the other hand, in the 20th century, the types of Jeogori were simplified, and the length of Jeogori in the history of the hanbok. In fact, it was shortened to such an extent that there appeared an article in the Jeguk Sinmun that said "(women's) Jeogori should be lengthened so as not to reveal any flesh."

As Korea's traditional attire, the hanbok has gone through a series of transformations that reflects the prevalent living culture and circumstances as well as aesthetics of the time while still maintaining its graceful beauty and unique value. We hope that the issuance of these commemorative stamps will provide an opportunity to appreciate the importance and meaning of the hanbok.

Pakistan 1993 - Dresses of Pakistan

Date of Issue: 10 March 1993

The stamp set features traditional costumes from:
PAKISTAN WOMEN DRESSES - PUNJAB PROVINCE
PAKISTAN WOMEN DRESSES - SINDH
PAKISTAN WOMEN DRESSES - BALUCHISTAN PROVINCE
PAKISTAN WOMEN DRESSES - NWF PROVINCE

Tunisia 2019 - EUROMED, Costumes in the Mediterranean

 

Technical Details:
Date of Issue: 05 September 2019
Size: 41 x 28 mm
Number Issued: 500,000 each stamps
Printing Process: Offset
Drawing: Leila Allagui

Mediterranean Costumes : 
0.75 Dinar - Traditional Costume For Women From The South of Tunisia, The City of Douz
1.00 Dinar - Traditional Costume For Men, The City of Kairouan

Mediterranean Costumes
As apart of its contribution to make known the distinguished heritage of costumes and actively contribute to the activities of the Postal Union for the Mediterranean and considering its significant role in the development of cooperation and partnership with the Postal euro-Mediterranean Institutions, the Tunisian Post issues Septermber 05, 2019, two postage under the theme Mediterranean Costumes.

The first postage stamp represents a special women's costume for the women of southern Tunisia, in which the Amazing style was fused with the Arab style, giving this costume an esthetic and remarkable heritage richness.

The second postage stamp depicts a traditional Kairouan-style clothing for men, consisting of a Jebba in creamy wool and a woolly Bornos in brown, known in Tunisia with a kabbouss and a turban above the head called Kachta.

Traditional Costume for Women from The South of Tunisa, The City of Douz:
Millia or Hrem or Hauli is a cloth whose color and decoration vary by the regions.  It is the traditional dress of the South Tunisian women who are adorned in its decoration and its tightness is controlled by two attractive buckles and a waistband.

Douz women's uniform is characterized by the striped blue-gray color o the side, placed by the woman on the shoulders and then pulled from the sides at the chest level by two silver clips called Alkhalal then attached at the waist with a cotton or woolen belt and this quilt covers the woman's body from shoulder to wrist.  The woman wears under the Millia a transparent white shirt with wide sleeves fabric lace.

The woman puts on her head a pink scraft or other color according to her taste and pulls it on top of the head at the level of the forehead with an Agar hanging from it a silver clip consisting of five silver necklaces.

The women's clothing of this region is characterized by simple engravings and silver decorations, which is necessitated by the daily life of the women of the South.  Most of them are dressed in the garment of gold in official occasions.

Traditional Costume for Men from The City of Kairouan:
The costume is made up of a Jebba and a Bornos with a Kabbous and a turban widely used in the city of Kairouan.  It is also present in Tunis and many other Tunisian regions.

Jebba is a costume worn throughout Tunisia.  It is woven in wool or islk, sewn from the front and leaves an opening on the side of the chest.  It is adorned with a so-called Harj that is made of natural ar artificial silk.  Its traditional colors are green, blue, gray and creamy.  Also, the man wears on the Jebba a Bornos in wool or any other thick fabric,  the favourite dress of city dwellers, the Bornos can be in different colors going from white with a creamy yellow to a dark color, this tends to a large part of population.

The headscraft is made up of a red pinch and a turban.  Tunisians have historically paid special attention to the Chachia with the Kubita and to the manufacture of Kabbous or before called Taguia.  They excelled in its industry and they dedicated its especially a market.

It should be noted that the Tunisian country has a legacy of fashion that distinguishes it from its neighboring countries of the Maghreb and Mediterranean countries, although some of them are similar in designations and forms.  It is a rich blend of colors, shapes, variety of fabrics, embroidery and embelishment.  These costumes vary according to cities, climate, geography, customs, and traditions.  Some of them date back to the Punic, Amazigh, Carthaginian, Turkish, Andalusian, and Arab-Muslim periods, reflecting the diversity, originality and tradition of the civilizations that have succeeded our country.

Hungary 2018 - History of Clothing #2

Technical Details:

Date of Issue: 03 April 2018
Face value: HUF 840 (4 x HUF 210)
On the date of issue, HUF 210 pays the postage of a Domestic priority letter up to 50 g.
Printing Technique: n4-colour offset
Number of copies: 60,000 Miniature Sheets
Perforated size of stamps: 30 × 50 mm
External Imperforated Size of Miniature Sheet:  80 mm × 140 mm
Paper Type: Gummed Postage Stamp Paper
Printed by: Pénzjegynyomda Zrt.
Photographs by: Attila Mudrák,MTI Fotó/Csaba Jászai,Gellért Áment, Cultiris/AKG
Designed by: István Weisenburger
Source: Museum of Applied Arts, Budapest

HISTORY OF CLOTHING II

Magyar Posta is continuing the stamp series History of Clothing, which began in 2016, by presenting two 17th-century wedding outfits that are kept in the Esterházy treasury. Sixty thousand copies of the miniature sheet designed by the graphic artist István Weisenburger were produced by the banknote printing company Pénzjegynyomda. The new issue will go on sale from 3 April 2018 and from that date will be available at first day post offices and Filaposta in Hungary but may also be ordered from Magyar Posta.

Every age has had eye-catching and popular fashions that are nevertheless short-lived. What they all have in common is the endless ingenuity that inspires people to define themselves through their clothes. On the second miniature sheet of the stamp series, selected historic garments of the Hungarian nobility, who set fashions for many long centuries, are shown.

The first stamp shows a dolman, the undercoat of Hungarian male clothing, which could be worn over a shirt without a pelisse. The sumptuous baroque suit was made of red Italian satin in Hungary around 1680 and is adorned with pairs of fasteners each formed of two half hearts held in white hands with gold-winged white doves perched on the hearts and hands. It was once thought that the dolman was Palatine Miklós Esterházy’s nuptial suit but more recent research suggests that Palatine Pál Esterházy wore the outfit at his second wedding, when he married Éva Thököly in 1682.

The second stamp shows a woman’s wedding outfit comprised of a skirt and bodice, which according to the 19th-century tradition were part of the wardrobe of Pál Esterházy’s first wife Orsolya Esterházy. Later evidence indicates that these items were associated with Éva Thököly, but it is also possible that they were the bridal wear of both women. The matching skirt and bodice were made and embroidered in Hungary. The once dark blue Italian velvet has discoloured and turned green, yet the set remains an exceptional example of old Hungarian attire. All the extant garments housed in the Esterházy treasury originate from the 16th and 17th centuries. This is the only known collection of related clothing of this nature in Central and Eastern Europe, comprising 21 garments, which has been in the safekeeping of the Museum of Applied Arts since 1919.

In the background of the stamps, a 19th-century depiction of the Esterházy Palace in Kismarton (today Eisenstadt, Austria) and the Leopoldina temple in the grounds of the palace can be seen.

Source: Emese Pásztor (ed.): Textiles of the Esterházy Treasury in the Collection of the Museum of Applied Arts, Museum of Applied Art, Budapest, 2010; András Szilágyi: Esterházy Treasures. Five Centuries of Artworks from the Ducal Collection. Museum of Applied Art, Budapest, 2006.

Hungary 2016 - History of Clothing #1

Technical Details:
Date of issue: 8 November 2016
Face value: HUF 250 (Supplementary Denomination)
Printing Method: Offset
Number of Copies: 80.000 pcs.
Perforated Size of Stamp: 30 x 50 mm
External Size of Miniature: 80 x 140 mm
Paper Type: Gummed Stamp Paper
Produced by: Pénzjegynyomda Zrt.
Designed by: István Weisenburger
Source: CULTiRiS / INTERFOTO / Sammlung Rauch • Hungarian National Museum

HISTORY OF CLOTHING I.

With the aim of presenting garments of various epochs, the Magyar Posta is launching a new special series of miniature sheet of postage stamps entitled The History of Garments. The first miniature sheets of stamps will present King Louis II and Queen Mary's wedding garments from the collection of the Hungarian National Museum. 80,000 copies of the novelty have been printed by Pénzjegynyomda Zrt. based on the designs made by graphic artist István Weisenburger. The stamp is available at first-day post offices and Filaposta from 8 November, but can also be ordered from Magyar Posta.

King Louis and Queen Mary's wedding garments can be viewed as part of the National Museum's permanent exhibition. It was in 1928 that the museum acquired the two garments from the Mariazell pilgrimage church in connection with which the Mariazell tradition held that those were the wedding garments of Louis the Great and his wife Elizabeth. However, in 1929, based on the fabric of clothes and the pattern, József Höllrigl, a scientific associate of the museum, found that those clothes were in fact the garments of Hungarian King Louis II and his wife.

The queen's garments followed the German Renaissance fashion typical of the first half of the 16th century: it was tailored from a green rosette-pattern Italian damask, was decorated with gold brocade and embroidered with gold and silver thread. The waistline was lifted and the upper part was made narrow and wide open. The skirt with a pleated waist expands towards the bottom into a barge skirt. The ends of the narrow sleeves are decorated with funnel-shaped cuffs covering also the hands. In its appearance, the royal mantle reflects the contemporary Hungarian tastes. An interesting fact related to the garment is that its front part is shorter and the back part is longer, which adds to the majestic appearance of the young king both when seated on a horse and when kneeling before the altar during the ceremony. The overcoat was made from silk brocade woven on both sides. It was a special technical accomplishment that the outside was patterned with gold, while the inside with silver. The shirt was made of fine woven fabrics of flax.

Sources: mnm.hu; Katalin F. Dózsa: Queen Mary's wedding dress in the light of recent research; Mária V. Ember: Louis King II of Hungary and his wife's clothes; tudasbazis.sulinet.hu/

Russia 2019 - Seventh Issue of Standard Stamps "Eagles" (Definitives)

not real pictures

Technical Details:
Date of Issue: 07 August 2019
Paper: Self adhesive
Colors: Multicolor
Perforation: 11½
Format: 20.0 x 27.5
Circulation: mass
Artist: Nikonov V
Design Artist (design): Moskovets A 
Printing Method:
  Offset + Protective Complex + Figured Carving (No. 2509–2519);
  Offset + Protective Complex + Figured Carving + Bronze Paste (No. 2520)

The Federal Communications Agency, Marka JSC and Goznak JSC prepared a new, Seventh issue of the Orly standard postage stamps of the Russian Federation. It will consist of 12 self-adhesive stamps with face values ​​from 50 kopecks to 100 rubles.

The postal miniatures depict the emblem of organizations of the federal postal service of the Russian Federation in an ornamental design.

Denominations of stamps: 50 kopecks, 1 ruble, 2 rubles, 2 rubles 50 kopecks, 3 rubles, 4 rubles, 5 rubles, 6 rubles, 10 rubles, 25 rubles, 50 rubles, 100 rubles.

The seventh issue of standard Russian stamps provides an unprecedented set of measures to protect against forgery of state signs of postage. In addition to microtext, unique figured die-cutting and the use of special inks, for the first time, postage stamps are made on self-adhesive paper with protective fibers and special anti-gluing notches. The protective complex of the new standard is not inferior in its characteristics to the measures used in the manufacture of banknotes.