Vietnam 2020 - UNESCO, Worshipping of the Tam Phu Mothers

Technical Details:

Date of Issued: 06 December 2020
Design: Nguyen Du
Theme: Religions & beliefs (Buddhism)
Width: 43.00 mm
Height: 32.00 mm
Denomination: 4,000 VND
Format: Sheet of 25 of 1 design
Perforations: 13.00 x 13.00
Issuing Authority: Vietnam Post (VNPost) - Ministry of Information and Communications (MIC)
Printer: Post Stamp Printing Company, Vietnam

Mother Goddesses of Three Realms Worship - Intangible cultural heritage of humanity:
4,000 VND - Three palaces for worshiping Mother Goddesses (Tam toa Thanh mau)
4,000 VND - Trance rituals (Hau bong)
15,000 VND - Five-deity worshiping (Kieu Nam quan)
15,000 VND (SS) - Procession of Mother Goddess (Ruoc mau)

South Korea 2020 - The Style of Hanbok (Men)

Spain 2023 - Nannies of Pasiegas

 

Date of Issued: 28 July 2023

About Nannies of Pasiegas

The Amas de Cría Pasiegas were young women of childbearing age, who left their children to go to different parts of the Spanish geography, and take care of the infants of other mothers, always from a good family, who could not or did not want to raise their children. their children.

The nannies came to achieve such fame that the name pasiega was taken as a synonym for wet nurse, and the typical pasiego costume was even adopted as the uniform of the nannies who arrived in the capital. Many returned to their homes years later, when they had managed to raise enough money to improve the family economy and offer a good future for their children and husband.

Lesotho 1989 - International Stamp Exhibition "PHILEXFRANCE '89" - Paris, France - The 200th Anniversary of the French Revolution - Walt Disney Figures in Uniforms

Date of Issue: 10 July 1989
 

Laos 2023 - Ethnic Wedding Dress

Technical Details:
Date of Issued: 19 June 2023
Denomination: 18,000 KIP, 18,000 KIP, 18,000 KIP
Quantity: 30,000 pieces (10,000 sets)
Size: 31 x 46 mm
Souvenir Sheet (Perforation): 60,000 KIP/ 1,000 Pieces
Souvenir Sheet (Non Perforation): 60,000 KIP/ 1,000 Pieces
Printing Process: Offset
Color: Multi-Color
Place of Printing: Vietnam Stamp Printing
Designer: Mr. Vongsavanh Damlongsouk

Sine ancient times, in each village, the people of Laos have self-made cloth blankets. When they do not have dyes, they take fruits from the mountains to create color. The woven in Laos like to wear cloth flowers, dark colored fabrics, and fresh as the color of the natural leaves of the forest. However the type of dress and the type of trousers also selected for convenience, suitable for the season with specific circumstance. Laotian traditional often wears an important occasion or ceremony and in many rural areas, you will easily catch a glimpse of children wearing "Tube Skirts" to school. Otherwise. "Sinh" and "Salong" are various in colors and depend on their occasions such as a wedding or funeral of the festival.
 

Laos 2023 - Living of Farmers

Technical Details:
Date of Issued: 16 June 2023
Denomination: 8,000 KIP, 8,000 KIP, 18,000 KIP
Quantity: 15,000 pieces (5,000 sets)
Size: 31 x 46 mm
Souvenir Sheet (Perforation): 40,000 KIP/ 1,000 Pieces
Souvenir Sheet (Non Perforation): 40,000 KIP/ 1,000 Pieces
Printing Process: Offset
Color: Multi-Color
Place of Printing: Vietnam Stamp Printing
Designer: Mr. Vongsavanh Damlongsouk

Laos is a country that rich in natural resources. In the past, the farmers used to plan rice using primitive tools using human and animal power, before planting rice, they had to use bufallo as plows. After that, they used human power to plant rice. It took 5 or 6 months to harvest the rice. The tools used to plant rice are: bufallo, hoe, plow and harrow. The year of harvest can be planted in two seasons as name "Nashan and Napi"

Albania 1977 - National Costumes and Folk Dances

Date of Issued: 20 August 1977
Perforation: 12

Uzbekistan 2016 - Uzbek National Costumes

Technical Details:
Date of Issued: 30 December 2016
Sheetsize: 4
Design: E. Kanevets
Engraving: Aucun
Perforation: 14 x 13¾
Size Stamp: 37 mm x 52 mm
Size Sheet: 100 mm x 200 mm
Circulation: 8,000 Sheets
Printing: Offset Printing

1,900 UZS - Groom's Suit (Tashkent. Early 19th century)
2,100 UZS - Bride's Costume (Tashkent. Early 20th century)
2,500 UZS - Boy’s Costume for Circumcision (Tashkent. Early 19th century)
2,500 UZS - Costume of a Young Woman (Tashkent. 30-40s of the XX century)

The series is printed in the form of a postal block. The postal block consists of 4 postage stamps. The postage stamps depict national costumes of the 19th and 20th centuries of the city of Tashkent. A special place in museum exhibitions is given to the national costumes of various regions of our Republic.

JSC “Uzbekistan Pochtasi” was prepared, the Ministry for Development of Information Technologies and Communications of the Republic of Uzbekistan put into circulation on December 30, 2016 a series of postage stamps “Uzbek National Costumes”. Postage stamps are multi-colored. The margins of the postal block depict a national ornament.

Zambia 1981 - Traditional Living, Definitive

Date of Issued: 02 June 1981
 

United Nation 2023 - Body, Mind and Soul

 

On 10 August 2023, UNPA issues three stamps and three souvenir sheets on the theme “Body, Mind and Soul”. When body, mind and soul are in harmony, one experiences good health, inner peace, and happiness. The stamps represent three UNESCO intangible cultural heritage from China that contribute to reaching such harmony – the practices of Taijiquan, Calligraphy and Guqin and its music.

Technical Details:
Date of Issue: 10 August 2023
Artist: Yun Zhang (P.R. China)
Designer: Rorie Katz (United Nations)
Stamp denominations: US$ 0.66, CHF 1,10, € 1,00
Stamp size: 40 mm x 30 mm
Sheet size: 180 mm x 170 mm
Stamps per sheet: 20
Souvenir sheet denominations: US$ 1.50, CHF 2,30, € 1,90
Souvenir sheet size: 40 mm x 140 mm with a 30 mm x 40 mm stamp
Printer: Royal Joh Enschedé (The Netherlands)
Process: Offset lithography
Perforation: 14 x 13 ¼

Quantities Stamps:
US$ 0.66 = 12,000 sheets
CHF 1,10 = 12,000 sheets
€ 1,00 = 12,000 sheets
Souvenir sheets:
US$ 1.50 = 37,000
CHF 2,30 = 27,000
€ 1,90 = 29,000

The Designs
US$ 0.66 stamp and US$ 1.50 souvenir sheet – Taijiquan
CHF 1,10 stamp and CHF 2,30 souvenir sheet – Chinese Calligraphy
€ 1,00 stamp and € 1,90 souvenir sheet – Guqin and its music

Andorra Spanish - Dance of The Bear

Technical Details:
Issue Date: 22 February 2022

About Dance of the Bear

The ball de l'ossa d'Encamp is a popular theatrical and dance performance around a bear hunt that takes place on Carnival Monday in the parish of Encamp, Andorra. In the first half of the twentieth century the tradition was lost and the dances of the bear were disappearing from the Principality. In Encamp, the dance of the bear revived in the fifties by the journalist and writer Rossend Marsol Clua (Sícoris), who formalized its representation. The dance of the bear of Encamp together with the Last Bear of Ordino that is celebrated in the first week of December in this other parish, are the only manifestations that survive of this ancestral Andorran tradition. These two festivals are included in the General Inventory of the Cultural Heritage of the Government of Andorra as Intangible Assets, and their inclusion in the Intangible Cultural Heritage of Humanity of UNESCO is also being processed.

The Andorra Bear Festival is considered a theatrical farce, in other words, a one-act comedy performance. This festival features a variety of characters typical of Andorran rural life of the last century and the hunting of the animal is presented as a pretext to stage the trifles in which they are immersed. At the end of the performance, garlic and quince oil are distributed to all attendees.

Suriname 1994 - Musical Instruments, Folklore

 Date of Issued: 16 February 1994

Greece 2023 - Costumes of The Greek Theater

 

Singapore 1986 - World Fair "EXPO '86" - Vancouver, Canada

Technical Details:
Date of Issued: 02 may 1986
Denomination: 50c, 75c, SGD1
Stamp Size: 40mm x 28mm
Perforation: 14.5
Paper: Unwatermarked
Printing Process: Offset Lithography
Printer: Leigh Mardon Pty Ltd
Sheet Content: 30 Stamps per Sheet
Designer: Chua Ban Har

SGD 0.50 - Calligrapher
SGD 0.75 - Garland Marker
SGD 1.00 - Batik Printer

COMMEMORATIVE STAMPS EXPO '86 will be one of the greatest attractions the world is likely to see in this decade and millions of people of every age and interest are expected to visit the grounds in Vancouver, British Columbia, Canada between 2 May and 13 October 1986.

EXPO '86 will also be the largest special category World Exposition ever staged in North America and the first to focus on the latest innovations in transportation and communications. It will attempt to seek new ways to overcome the barriers of time and space, new methods of people, goods and ideas.

With the theme of "World in World in Touch", EXPO'86 will offer a glimpse of both the marvels of modern technology and the re-enactments of past travels.

Singapore is participating with a Singapore Pavilion and an overall theme of "Sur- prising Singapore”.

In conjunction with the World Exposition, a set of three stamps will be issued on 2 May 1986.

Interwoven into the fabric of Singapore's modern city life and highly sophisticated industries is a surprising myriad of traditional trades and handicrafts which have thrived in the little cor- ners of Singapore for a few decades.

Depicted on the 50¢ stamp is calligra- phy, which is the skill of Chinese hand- writing. Using the supple Chinese writing brush and paper, the calligrapher trans- poses the ideographic Chinese character into pieces of art, each in its distinctive beauty, grace and style. Calligraphy is a traditional art, coming from a time when a good hand is equated with good education. Lines and strokes cannot be corrected once they are written.

In Singapore, calligraphers can be found in Chinatown. Their history started from those early days when letter writers were needed as links of family communi- cation for young men who come to make their homes in Singapore. Today, they write poems, couplets, names and even greetings as souvenirs for both tourists and locals alike.

Garland makers (as depicted on the 75¢ stamp) are found along the stretch of Serangoon Road, affectionately known as the "Little India" of Singapore.

The art originated from India, and has evolved somewhat to meet the needs of other ethnic communities in Singapore. Originally using the jasmine blossom, garland makers in Singapore today make use of red and pink roses and orchids to string their garlands together.

As with the traditional crafts, the trade of garland making goes back a few decades. The skill is a relatively simple one using strips of banana fibre to tie the stems of flowers together, forming an attractive floral string. A variety of flowers is used, the most com- mon being the jasmine blossom, chosen for its sweet scent and used in Hindu religious cere- monies. Garlands are also made for use as women's hair pieces, in ritual baths and at wedding
and engagement ceremonies.

Batik printing (on the $1 stamp) in Singapore had its ori- gin from the neigh- bouring countries of Indonesia and Malaysia. There are three methods of making batik- hand-painted, hand-stamped and machine printed. In its original form, batik printing is an ornate skill, using a tedious wax and dye process to work out rich patterns and designs on cloth, producing unique master- pieces, often without duplicate.

Batik in Singapore is produced largely for exports. The designs in Singapore batiks tend to centre on the floral theme and are intricate and fine. They are prin- ted on a variety of fabric materials such as cotton, silk and rayon, and are fashion- ed into wrap-around skirts, sundresses, shirts, blouses and, of course, the striking traditional sarong worn by ladies.

Egypt 2023 - EUROMED, Festivals of the Mediterranean

 

Ireland 2023 - Junk Kouture

Techinal Details:

Date of Issued: 04 May 2023
Design: Unthink
Value and Quantity: 4 x N (50k booklets)
Make-up: Booklet of 4
Size: 30mm x 51mm
Paper: TR 246gsm self-adhesive Colour Multicolour with phosphor tagging
Printing Process: Lithography
Printer: Royal Joh. Enschedé

On May 4, we issue a set of four stamps to acknowledge the spectacular success of the Irish fashion movement that is Junk Kouture.

We are delighted to mark the achievements of the Junk Kouture movement with multicoloured stamps that feature attractive highend fashion from junk materials designed by Irish students. Based on an ethos of sustainability and innovation, students aged 13-18 are challenged to envision, design, create and model high-end haute couture styled by using only recycled materials and everyday junk. The movement’s core principles of sustainability and innovation are in response to climate change and the need to achieve a more sustainable future through education and youth creativity.

The designs created by Irish students featured on our attractive stamps are:

‘It’s All About The Package’ by Londiwe Ndlovu of Our Lady’s Bower Secondary School, Co. Westmeath.

‘The New Different’ by Georgie Barry, Leona Purcell and Ally Griffin of Coláiste Nano Nagle, Co. Limerick.

‘Steam Punk’ by Angel Agheria, Sam Walsh and Edward Mullaly of De La Salle College, Waterford.

‘Iconoclastic Fantastic’ by Alicia Rostermundt of Coláiste Bríde, Enniscorthy, Co. Wexford.

Indonesia 2022 - The Surakarta Kraton Guards

 

Wallis & Futuna 2023 - Traditional Dance, Bamboo Dance

Technical Details:
Date of Issued: 29 April 2023
Designer: J.-J. MAHUTEAU
Printing: Offset
Stamp Size: 52 x 40 mm
Presentation: 10 Stamps per-Sheet
Face Value: 175 FCFP (1,47 €)
Circulation: 20 000 copies

DDR, Germany 1986 - Postal Uniforms

Date of Issued: 04 February 1986
Design: Gottschall
Perforation: 14

Denmark 1976 - Danish Glass Production

Technical Details:
Date of Issued: 18 November 1976
Sheetsize: 50
Design: Helle Jessen
Engraving: Czeslaw Slania
Perforation: 12¾

Ghana 1988 - The 10th Anniversary of International Fund for Agricultural Development (IFAD)

Date of Issued: 14 April 1988
Perforation: 13

Thailand 2019 - Thai Traditional Festival, Lotus Receiving

Issue Name : Thai Traditional Festival Postage Stamps - Lotus Receiving
Issue Date: 07 October 2019
Denomination: 3 Baht (4 Designs)
Size: 48 x 30 mm. (Horizontal-measured from perforation to perforation)
Printer: TBSP Public Company Limited

Finland 1976 - The Prevention of Tuberculosis, Wedding Traditions

Date of Issued: 15 September 1976
Design: Paavo Huovinen
Perforation: 12¾ x 13

To the late 1800s continued wedding traditions; Wedding Traditions:
0.50 + 0.10mk: Wedding Procession
0.60 + 0.15mk: Wedding Dance
0.80 + 0.20mk: Wedding Dinner

Czechoslovakia 1975 - Czechoslovak Folk Costumes

Date of Issued: 26 March 1975
Design: K. Svolinský
Engraving: J. Schmidt
Perforation: 11¾

Ascension 1991 - Royal Marines Equipment, 1821-1844

Date of Issued: 01 August 1991
Perforation: 14¼

Royal Marines Equipment 1821-1844:
Officer: Shako, Epaulettes, Belt Plate, & Button
Officer: Cap, Sword, Epaulettes, Belt Plate
Drum Major: Shako with Cords, & Staff
Sergeant: SHako, Chevrons, Belt Plate, & Water Bottle
Drummer: Drum, Sticks, Shako

Taiwan 2012 - Traditional Festivals

Technical Details:
Date of Issued: 20 June 2012
Dimension of Stamp: 40mm × 32mm
Printer: China Color Printing Co., Ltd
Designer: Huang Li-jun
Sheet Composition: 20 (5×4）
Print Color: Colorful
Process: Offset
Paper: Phosphorescent Stamp Paper
Perforation 121/2

So as to introduce traditional Chinese festivals, Chunghwa Post is issuing a set of four stamps featuring the Chinese New Year, the Lantern Festival, the Dragon Boat Festival, and the Mid-Autumn Festival. The designs of the stamps follow:

1. The Chinese New Year (NT$5): Chinese New Year is characterized by auspicious celebrations that symbolize the idea of the old giving way to the new. The stamp features fireworks to convey a sense of joy and fruitfulness. It also shows traditional New Year’s calligraphic couplets, with chun (the character for spring) on one side of the door, and fu (the character for good fortune) on the other. These convey the idea that “with spring comes good fortune.”

2. The Lantern Festival (NT$5): The Lantern Festival is like a mini Chinese New Year. Every household celebrates and hangs decorative lanterns. The stamp features a traditionally styled lantern, glutinous rice balls, and wooden red flip-flops representing that everything comes in pairs. The design is meant to convey the idea of blessings coming as families gather to celebrate the holiday.

3. The Dragon Boat Festival (NT$10): Dragon boat races and eating zongzi are the two activities most representative of the Dragon Boat Festival. It is a folk tradition to hang sweet sedge and Asian mugwort over the door to one’s house so as to ward off insect infestations. It is also customary to wear sachets of fragrant herbs dangling from one’s waist and to drink realgar wine as a way of praying for peace and safety.

4. The Mid-Autumn Festival (NT$25): “The moon is full and the people united.” The Mid-Autumn Festival is a holiday that celebrates reunions. The stamp features a shiny, bright moon and the Jade Hare and Lady Chang’e accompanying each other in the Palace of the Moon. The moon cakes symbolize the beauty of the clan being whole and united.

Macau 2002 - Tou Tei Festival (God of Earth Festival)

Date of Issued: 15 March 2002
Perforation: 14½ x 14

Belief and Customs of Tou Tei:

Tou Tei, a folk deity, is thought to protect the life and health of residents. In Macao, Tou Tei is honoured with altars, temples and a festival on the second day of the second lunar month, roughly February or March each year.

Taiwan 2004 - Yijhen: Taiwanese Folk Art Performance

Technical Details:
Date of Issued: 11 May 2004
Dimension of Stamps: 40mm x 30mm
Printer: China Color Printing Co., Ltd., R. O. C.
Drawer: Hung-tu Ko
Sheet Composition: 20 ( 5 x 4 )
Print Color: Colorful
Process: Deep etch offset
Paper: Phosphorescent Stamp Paper
Perforation: 11 1/2 x 11

Yijhen: Taiwanese Folk Art Performance:

A staple of temple fairs and religious festivals, yijhen, a general category of various traditional Taiwanese folk art performances, is gradually fading from view due to the industrialization and modernization of society. Yet the sight of yijhen never fails to evoke warm memories of childhood. In order to give ROC nationals a deeper understanding about the island of Taiwan, Chunghwa Post is issuing a set of four stamps entitled “Yijhen: Taiwanese Folk Art Performance.”

In traditional Taiwanese society yijhen folk art performance played an important role in the cultural life of the common people. In the agricultural society of yesteryear, it was used in rituals to express people’s gratitude to the gods during temple fairs and religious processions and was also used as entertainment for the common folk. During the Ming and the Ching Dynasties, the early Han Chinese settlers brought yijhen with them

when they made the journey from mainland China across the strait to Taiwan. In the 400 years since, yijhen has developed into something that has both preserved its traditional Chinese spirit and yet also taken on the flavor of its locale. During the period of early settlement, Taiwan was a dangerous place, and some yijhen troupes had become self-defense organizations for their locales. The prevalence of religious activities fueled the development of folk dramas and yijhen. Apart from being entertaining, yijhen also functioned as a tool of education and as a defense mechanism that fostered solidarity among the people. Traditionally, a procession is held symbolizing a god or gods making an inspection tour of his or her territory on the eve of the god’s birthday or an important temple ceremony. During this kind of procession, local temples and businesses invite yijhen folk art performance troupes to join the parade. Most of these yijhen performers are amateurs and composed of people from the local communities.

The designs of the stamps follow:

(1) The Eight Generals: the “Eight Generals” can actually be performed by four, six, eight or more than ten persons. An eight-person troupe is the most common—hence the name. The “Eight Generals” is a solemn and mysterious troupe, employing the Four Gate, Seven Star or Eight Trigram battle arrays to capture goblins and monsters, so as to protect the people and keep the area safe.

(2) The Song Jiang Battle Array: the “Song Jiang Battle Array” is the largest and most impressive religious martial art troupe in Taiwan and it is very popular in Southern Taiwan. It is typically composed of 36 members, but some have 42, 56 or 72 members. In recent years, the Tourism Bureau has especially designated the “Song Jiang Battle Array” performed by troupes from Neimen Rural Township, Kaohsiung County as a unique local travel attraction. And troupes from Neimen have represented Taiwan several times in performance art exchanges in mainland China.

(3) The Drum Dance: the “Drum Dance” is the most energetic and rhythmic of all Taiwanese folk art performances. All about drumming and jumping, it is also called the Drum Flower Dance, Big Drum Flower or Playing the Big Drum. A troupe is normally composed of eight people, although there are also larger troupes of several dozen people. The performance is divided into the flags, the drums, the parasols and the gongs. It is mostly performed in a square-like formation, with the drums in the middle, the parasols in the front and back, and the gongs at the four corners. Movements are rhythmic and exacting. These are popular performances during temple fairs.

(4) Stilt Walking: also called stilt stepping, stilt walking takes real skill and a lot of practice. It is generally divided into the categories of theatrical stilt walking, which emphasizes singing and facial expressions, and martial arts stilt walking, which features all sorts of stunts and martial art movements. Most of these stilts are under three feet high, and these are called short stilts. Stilts over three feet high are called tall stilts.

French Polynesia 1989 - Polynesian Folklore, July Festivals

Date of Issued: 28 June 1989
Perforation: 12½

French Polynesia 1987 - Polynesian Faces

Date of Issued: 21 January 1987

Perforation: 13¼

Macau 2011 - Cantonese Naamyam

Issue Name: Cantonese Naamyam
Issue Date: 30 May 2011
Designer: Chan Chi Vai

Cantonese Naamyam (narrative songs)

Brief Introduction to Naamyam — sad and touching song

“Naamyam”, “Wooden Fish", “Dragon Boat” and “Cantonese Folk Songs” are all Cantonese dialect folk songs formed by narrative singing. The linguistic characters of Cantonese dialect originated from the central plains of China (especially the Henan Province, which is traditionally considered as the cradle of Chinese civilization), and has retained the original nine tones and was registered in ancient poetry and books. The structure of “Naamyam” strictly follows the seven syllable and rhyme requirements of ancient Chinese poetry. Classic pieces include Ye Tingrui's “Wayfarer’s Autumn Lament” from the Qianlong period; He Weiqun's “Nocturnal Lament”; Zhao Ziyong’s “Diao Qiu Xi” and “Quit Your Soul's Sorrow”, as well as “Nan Shao Yi", “Ji Xiao Xiang”, and “The Magic Jade Fan”, written by unknown authors during the Jiaging period. All of the authors were accomplished scholars who had taken the imperial examinations. Although most Naamyam songs were composed in brothels or night clubs, they still convey a sense of loss, melancholy and gut-wrenching emotion. The songs also have patriotic undertones, with performers singing it quietly in a romantic style. On the other hand, Dingban (a method to indicate rhythm in Naamyam) requires precision, but allows for more freedom in singing articulation. Naamyam is influenced by Tang poems, but different from the “Long-Short Sentence” style of the Song Dynasty, integrated in the singing techniques of Kunqu Opera and Beijing Opera.

‘The “wooden fish book” texts were printed at the end of the Ming Dynasty, and have since evolved into different types of singing such as “dragon boat” “Naamyam" and “Cantonese Folk Songs” during the Qing Dynasty, with hundreds of bookshops estimated to have published thousands of different printed texts. These printed texts would usually only have only recorded the lyrics, but not the tune, although some also included the narrative singing scripts. Each textual unit in a Naamyam song is a quatrain, with each line containing seven syllables. The final syllable in the first and third line of each quatrain must end with an oblique tone, the second line (known as upper line) must end with an upper even tone and the fourth line (known as lower line) must end with a lower even tone. As repeating those rhythms were like the governing linguistic tones in the Tang Dynasty, famous Naamyam accents, such as “Zheng Xian”, “Yi Fan”, “Pao Zhou”, “Li Hun” and “Liu Shui” could be perfectly presented, with “Pao Zhou”, which has a bitter tune, sung from the throat, being the most touching one.

Naamyam styles can be divided into: Dai Sui Naamyam, Xi Neng Naamyam and Hei Toi Naamyam, each with their own unique styles. It is also distinguished by the singer, the performance venues or audience and performances given by blind singers, actresses, during home celebrations, on the streets, in taverns and on song boats will all have unique features. Moreover, depending on the size of the group, the singing could be accompanied by the Yangin (hammered dulcimer), the Y ehu (coconut-shelled lute), the San-Fsuan fiddle, the Xiao (vertical end-blown flute), the Pipa (seven-stringed Chinese lute), the Qingin (three-stringed Chinese lute) or the Ban (wooden clapper percussion instrument). The instruments could be played by the singer, or by fellow musicians, not all of whom were blind. Young blind girls were trained by their masters to be musicians capable of both singing and playing instruments at the same time. With the development of society and the economy, the ways of entertainment become varied. Away from brothels or night clubs, Naamyam singers would also be invited to perform in events such as weddings, celebrations or funerals. As Naamyam singers were mostly blind, they could sing among women in rich families.

On the other hand, there was a big difference in the way the careers of the Naamyam blind musicians in Hong Kong, Macao and Mainland China developed. Singers from Mainland China would dedicate themselves to the pursuit of excellence in singing technique, opting to keep to strictly defined standards. In contrast, Hong Kong and Macao were capable of broadcasting long-term radio programs dedicated to Naamyam songs. The popularity of blind musicians in Hong Kong and Macao was consequently widespread, with some artists even releasing records of their own.

Even though the boom period of Naamyam has long gone, several celebrities and communities have been working tirelessly to save the ancient tradition of Naamyam. With the assistance of Macao SAR, Naamyam was recently inscribed in the National Intangible Cultural Heritage list. “Naamyam” has become a unique item in the culture of Macao.

Author: Chan Chi Vai
Translation: NextVector Consultants Ltd

Mongolia 2023 - Ice Festival Of The Mongols

 

India 2023 - Bridal Costumes of India

Technical Details:
Date of Issued: 12 February 2023

Denomination : 25.00 Indian Rupees 
Printed : 111,000 each
Process : Wet Offset
Printer : Security Printing Press, Hyderabad
Stamp/Souvenir Sheet/FDC/Brochure: Smt Gulistaan
Cancellation Cachet: Smt Nenu Gupta
Souvenir Sheet: Designed by Smt Gulistaan based on photographs arranged by Smt. Gulistaan, Sh. Amit Pandey and Sh. Ashish Raina.
Text : Sh. Pallab Bose


Bridal Costumes of India Weddings are a great way to experience the first hand experience of the culture, rituals, food habits, clothing and lifestyles of any community. In India, wedding is a celebration, where everyone is invited to bless, bride and groom on their new journey.

Red is the predominant color of bridal custom in India. In our culture, it means new beginnings, passion, and prosperity. Red also represents the Hindu goddess Durga, who symbolizes new beginnings and feminine power. In Indian culture, the woman is the one who is leaving her house and going to the man’s house to be with his family. It’s a far bigger change for the woman than the man, so it is appropriate that she be the one commanding the most attention and wearing a bold color like red that symbolizes new life.

The Indian bride usually wears a wedding sari orlehenga according to the regional traditions. In Indian culture, wedding dress of a bride comes from groom's side as a Shagun. While the saree is preferred as the bridal dress in South India, West and East India, traditional wear such as the mekhela sador is preferred in North-east India and brides of the North of India prefer Lehenga, Gagra Choli and Odni as bridal dresses.

The Kashmiri bride complement her looks with weaved saress which are remarkably jazzy due its adorned work. The bride completes her wedding look with Tarang, Kalpush, Zoojhis and matching dupatta. Their jewelry consists of heavy necklaces, bangles, payals and special ornament called Dejharoo, akin to a Mangalsutra in Indian culture.

The Punjabi Brides wear a Salwar Kameez, an extremely opulent pant suit, or lengha. The bride wears white and dark red bangles made of ivory known as ‘Chooda’. They are usually in multiples of four and according to tradition the bride must wear it for at least a year after her marriage. Chooda and Kaleeras are the real essentials of a Punjabi bride’s wedding day look.

The outfit of a Manipuri bride is colorful and has a distinct style which is hard to find in any other community. A traditional Manipuri bride dons a skirt called Raslila on her wedding occasion. The Chakmas brides also wear black and red sarong which is also known as Pindhan in the local language. This entire outfit is teamed up with a blouse known as Silum. The Magh brides from the Manipuri community don the Thami sarong that covers almost the entire body and is coupled with a choli or a blouse which is full sleeved. The traditional outfit of a Manipuri bride is accessorized with the basic ornaments such as bangles, nose rings, necklaces and earrings.

The Bengali bride wears a Banarasi saree. Most Bengali brides prefer to wear a red Banarasi saree embellished with gold details or embroidery to match the gold jewellery. The traditional Bengali bridal look comprises of a beautiful red Banarasi saree, alta or red water colour on the hands and feet, mathapatti, necklaces, mukut and red and white bangles with gold.

The Marathi bride during the wedding put on a beautiful yellow or green Paithani saree with a golden border, hair tied in a neat bun, decorated with pearl ornaments and Gajra. The Paithani saree can either be woven in Kanjeevaram silk or even Banarasi silk. Most Paithani sarees have peacock and mango motifs of the Pallu and a square block design on the border. Mundavalya is the red and white beaded string like an ornament that the bride and wears across their forehead during their wedding ceremony. Two beaded string also fall from the string on either side on the forehead. Kolhapuri Saaz is the mangalsutra of Marathi brides.

The Gujarati bridal saree is called as a Panetar. Gujarati brides prefer to wear the traditional cream/ white and red saree for the wedding rituals. Many brides also choose Panetar style wedding lehenga choli that is made in white/ cream and red colors. Kundan necklace, heavy Jadau earrings or Jhumkas, also known as ‘kan ni butti’ in Gujarati, rings, Nathani or nose ring, armlets, hand ornaments, anklets, bangles, hair ornaments and Maang tikka or the forehead jewelry comprising of the entire array of jewels the bride adorns herself with.

Gujrati Brides also wear fine Bandhani sarees during their wedding ceremonies. One such glorious Bandhani saree is called as Gharchola – which is traditionally made in the colors of red/ maroon and green with Bandhani work and metallic and thread embroidery.

Tamilian brides dignify their wedding look with Kanchipuram Saree or Madurai Silk. A typical tamil bride usually wears a Kanjeevaram Saree in hues of bright colors with contrasting borders that have gold threads woven into beautiful patterns. Tamil bride is adorned with gorgeous looking heavy gold jewelry, passed on from one generation to the next. A few prominent jewelry pieces that adorn a Tamil bride are Metti (Toe Ring), Kolusu (Anklet), Oddiyanam (HipBelt), Vanki (Armlets), Maanga Malai (Mango shaped necklace), Nose Ring or Nose Stud, Earrings, Thalaisamaan (on forehead), Jadanagam (decorated braid). No tamil marriage is complete without wearing the flowers on the women’s head.

The Malayali bride wears a white saree with a golden border known as ‘kasavu saree ’. The Kerala bride has started pairing her traditional white and gold saree with a shiny red silk blouse, layered gold jewellery and lots of flowers in her hair Her minimal jewelry and makeup, matching bangles and that oh-so-pretty Kamar Bandh are enough to make her look like a perfect Kerala bride.

Department of Posts is pleased to issue two sets of Souvenir Sheet with commemorative postage stamps Bridal Costumes of India and celebrates the vibrant colors and spirit of Indian weddings.

Netherlands 2023 - Jimmy Nelson, Ode To The Netherlands

About Jimmy Nelson - Ode To The Netherlands

On 25 January 2023, PostNL will issue a series of four stamp sheets entitled Jimmy Nelson – Ode to the Netherlands. The personalised stamps feature portraits of women and girls in Dutch national and regional dress, photographed by Jimmy Nelson for his 2022 book Between the Sea and the Sky. The stamps were designed by graphic designer Larissa Rosvaenge of Jimmy Nelson Studio. The denomination on these stamps is ‘1’, the denomination for items weighing up to 20g destined for the Netherlands.

The four Jimmy Nelson – Ode to the Netherlands stamp sheets feature 20 portraits of women and girls in Dutch national and regional dress. National and regional dress is location- and region-specific clothing that is subject to unwritten rules that are known and clear to those who wear it locally. Most Dutch regional dress can be traced back to earlier civic fashions, especially from the 17th and 19th centuries. In some places, elements of that fashion were maintained while the general fashion changed. Many variations emerged throughout the years. In many areas of the Netherlands, regional costume has disappeared; in others, the disappearance is taking longer than predicted. Source: Het Streekdrachten Boek, Adriana Brunsting and Hanneke van Zuthem, Waanders Uitgevers, Zwolle 2007.

Featured locations and regions:
Ode to the Netherlands I Veluwe, Huizen, Schouwen-Duiveland, Volendam, Rijssen

Ode to the Netherlands II Walcheren, Friesland, Leeuwarden, Scheveningen, Arnemuiden

Ode to the Netherlands III Spakenburg, Marken, Urk, Zaanstreek, Kampereiland

Ode to the Netherlands IV Hindeloopen, Staphorst, Katwijk, Enkhuizen, Axel

The photos on the Jimmy Nelson – Ode to the Netherlands stamp sheet are taken from the 2022 book Between the Sea and the Sky by British-Dutch artist Jimmy Nelson. In the book, he portrays 20 Dutch communities in traditional and regional dress in their own environment. The 528-page book features intimate photographic portraits and iconic landscapes, captured with an analogue plate camera. The detailed nature of the images, with plenty of contrast and depth, harks back to the work of the Dutch master painters of the 17th century.

The stamps of the Jimmy Nelson – Ode to the Netherlands issue feature photo portraits of women and girls in Dutch national and regional dress. Most portraits are of the upper body and face. The viewing direction of those portrayed changes. The background is dim and dark, making the bright areas in clothing and headgear stand out more. A collage of other photographic portraits from the locations and regions featured on the stamps is printed at the top of the sheet edge, against an equally dark background. This photomontage also features men in regional dress. On each stamp sheet, a line on the sheet edge serves as a graphic element to connect the photomontage on the sheet edge and the photo portraits on the stamps.

The font used for the denomination 1 and Internationaal was designed in 2018 by type designer Martin Majoor from Arnhem. The remaining typography used the 1991 font Didot by Adrian Frutiger for Linotype of Berlin (based on the Didot fonts of 1784-1811) and the 2010 font Aperçu by Colophon Foundry of London/Los Angeles.

The Jimmy Nelson – Ode to the Netherlands stamps were designed by Larissa Rosvaenge. She is responsible for all designs as a graphic designer within the Jimmy Nelson Studio team. She also designed the book Between the Sea and the Sky from which the photos featured on the stamps were taken.

Human connection
The Between the Sea and the Sky project was created during the Covid pandemic. At the time, travelling to faraway places, where Jimmy Nelson usually takes his photographs, was not possible. ‘As a creative company, we are always looking for human connection,’ Nelson explains. ‘Thanks to the Covid measures, we discovered that there is actually a great wealth of cultural heritage within the Netherlands. A heritage that creates connections within the conscious community, also through storytelling and experiencing a collective past together. As a creative studio, we consider beauty to be an important factor. We are not anthropologists or regional dress experts. But we delved deep into the subject and presented it in the most beautiful and balanced way possible. Both in the book and in the accompanying exhibition and now also on the stamps.’

Every detail
Larissa Rosvaenge believes the search for balance was an important starting point for the design of the stamps. ‘Of course, the source material was not unknown to me, since I worked on the book for 2 years. I know all the photos, all the people in them and every detail. The official launch of the book in September last year took place at a gathering of hundreds of those who were portrayed in the book on the Museumplein. All wearing national or regional dress. So that’s when I met everyone in real life. It was like meeting celebrities.’

Reflecting the seasons
The stamps represent every single photographed community, from Axel to the Zaan region. Rosvaenge: ‘Initially, when I was selecting the images, I did not restrict myself to anything. I first looked at which people in the book resonated with me the most and whether the images meshed well with each other. Then we started to focus more on balance. Balanced ages, for example: the youngest person portrayed on the stamps is 3 years old, the oldest well into their 80s. But also balance in where people came from, what colours predominated in the pictures and what viewing directions there were. Moreover, we tried to avoid repetition as much as possible. It was interesting to see that a colour scheme that reflects the seasons emerged almost spontaneously. We ended up with stamp sheets on which white predominated in winter, light colours emerged in spring, stronger colours appeared in summer and darker shades surfaced in autumn.’

Intensity of expressions
The mood of the portraits is defined by the way Nelson photographs his subjects. ‘This is always done with the utmost respect,’ he says. ‘In an environment where silence prevails and where I become fully subservient to the subject. Technology also plays an important part. I shoot in natural light with an analogue plate camera, with a wide aperture and a slow shutter speed. This requires people to sit still for a long period of time, and you can see that in the intensity of their facial expressions. It is literally a unique photograph. And they’re all unedited, unlike today’s polished digital photography. We are always looking for beauty in imperfection.’

Graphic line
This imperfection returns in the thin graphic line connecting the photo collage on the sheet edge with the stamps. ‘They are the real contours of a negative from the plate camera,’ Rosvaenge explains. ‘We picked the edges of a different negative for each stamp sheet. This is how they actually look, we have not edited them to ‘improve’ them. They are real, the way the people in the images are real individuals.’ The latter is echoed by Nelson, who does not work with models for his photography. ‘They are real people who are aware of the living heritage within a culture with its own identity,’ he says. ‘So therefore, these portraits are not ours. They are not our property. We were only able to create them thanks to the cooperation of all those people. They not only give us their portraits, but also their souls and their stories. We package that – for example, in the shape of a book and, in this case, stamps – and show it to the world.’

Focal point
On the stamps, the fixed frame of the personal stamps determines the framing of the photo portraits. On the sheet border, Rosvaenge gave herself the freedom to feature the portraits in a different way. ‘The collage is yet another way of showing that national and regional dress are still very much alive. This is done by cropping the images whilst respecting the original image and the recognisability of the people. Each collage has a single person in the centre who is featured larger than the others. In a busy collage like this, you need a focal point. That is purely an aesthetic choice, it has nothing to do with the person’s position in the community.’

Love letters
Besides photographic portraits, the collage incorporates particular details of national and regional dress. According to Larissa, the result was a strong, layered design. ‘All sorts of things are going on, and you will have to look several times to get through those layers. That is why I would love it if people bought two of each stamp sheet: one to keep, the other for sending mail. Preferably for love letters, of course.’

About the designer
Larissa Rosvaenge (Munich, 1989) studied Fashion Design in Munich, followed by a master’s degree in Fashion Strategy in Arnhem. Her interdisciplinary background and love of art and culture led her to the world of Jimmy Nelson. She has worked as the Head of Design and Art Curator at the Jimmy Nelson Studio since 2016. There, she is responsible for all designs, including books, exhibitions, the website and now the stamps.

About the photographer
Jimmy Nelson (Sevenoaks, 1967) is a British-Dutch artist working from Amsterdam. Nelson was already active as a photojournalist in war zones from an early age and regularly undertook expeditions to photograph remote cultures. In 2010, Nelson launched the Before They Pass Away project, a 3-year tour of the world during which he photographed 35 indigenous peoples. The accompanying book, which was published in 2013, was his big breakthrough. In 2018, Nelson published Homage to Humanity, featuring more than 400 photographs of 30 indigenous peoples. Established in 2016, the Jimmy Nelson Foundation is a foundation that promotes the cultural heritage of indigenous peoples. Nelson's most recent project is 2022’s Between the Sea and the Sky, in which he portrays 20 Dutch communities in traditional dress.