Sunday, January 4, 2009
Thailand 2005 - Thai Mask Play, Thailand Philatelic Exhibition THAIPEX'05
Issue Date: 03 August 2005
Denomination: 3.00 Baht (3 Designs) and 15.00 Baht
Souvenir Sheet: 30.00 Baht
First Day Cover: 35.00 Baht
Sheet Composition: 20 stamps
Size: 36 x 57 mm
Printer: Thai British Security Printing Public Company Limited, Thailand
Details: To commemorate Thailand Philatelic Exhibition 2005 (Thaipex'05) and this year illustrates are Khone (Art of Thai mask play) from Ramayana story.
The mask play or Khone dramas originated in Ayutthaya Era. The play and costume designs are influenced by the traditional play "Chuck Nark". The fighting style is inspired by Thai sword play and traditional martial arts. Music in the play is taken from traditional musicial plays. Most of the actors wear masks unless their roles are angels, humans, queens, princesses, or giants. Musical parts also include solos and choruses by both leading and supporting actors. The two most-played Khone dramas are the Ramakian and unarrud.
In this must-have stamp series, we bring the main characters from the Ramakian to life :
1. Pra Rama and Princess Sida
2. Thosakan
3. Hanuman
4. Pra Rama's battle with Thotsakan
Thailand 2004 - Bangkok Fashion City
Issue Date: 05 December 2004
Perforation: n/a
Denomination: 3.00 Baht ( 3 kinds) and 15.00 Baht
Size: 30 x 48 mm
Printer: Thai British Security Printing Public Company Limited, Thailand
Details: To publicize the activities of the Bnagkok Fashion City initive
Illustrate the colorful graphic design of male and female models
Thailand 1972 - The National Costumes of Thai Women
Issue Name: Thai National Costumes
Issue Date: 12 January 1972
Perforation: 13.5 x 14
Denomination: 0.50 Baht,1.00 Baht ,1.50 Baht, 2.00 Baht
Details: To show and make known of Thai National Costumes
Size: 27 x 45 mm
Printer: Bradbury Wilkinson Co., Ltd., England
Nepal 1973 - Traditional Costumes
Technical Details:
Date of Issue: 18 February 1973
Quantity: 8,000,000.- each
Colour: Multi Colour
Size: 39mm x 33mm
Process: Photogravure
Paper: Unwatermarked and Gummed Paper
Sheet: 16 (4 Setenant Block)
Designer: K. Karmacharya
Printer: Government Printing Bureau, Tokyo, Japan
0.25 Nepalese Rupee - Northern Border People
0.50 Nepalese Rupee - Hilldwellers
0.75 Nepalese Rupee - Kathmandu Valley People
1.00 Nepalese Rupee - Inner Terai People
South Korea - Wedding Costumes
Korea, with 5,000 years of distinctive history and culture and Singapore, a globalized country of the 21st century, issue a joint stamp featuring traditional wedding costume ? a subject that is both meaningful and beautiful.
Korea’s traditional wedding attire depicted on the stamp is from the Joseon Dynasty (1392-1910).
Generally, a bridegroom’s wedding garments include a coronet with wings (Samo) and an official robe with a round collar (Dallyeong) with embroidered insignia (Hyungbae). The bride wears an embroidered court robe (Hwarot) or a ceremonial robe (Wonsam). She would also do up her hair in the ceremonial style, colorfully decorated with a coronet adorned with jewelry (Jokduri), a fluttering hair accessory (Tteoljam), or with a hair ribbon (Daenggi).
The stamp shows a purple-colored Dallyeong with Hyungbae spun with golden thread; splendidly embroidered Hwarot; blue-colored Dallyenong with a twin-crane Hyungbae; green-colored Wonsam spun with golden thread; deep blue-colored Dallyeong; and green-colored Wonsam.
The stamp also shows formal wear worn under these wedding costumes: the bridegroom’s baggy pants (Baji), jacket (Jeogori) and overcoat (Durumagi); the bride’s green jacket (Jeogori) and red skirt (Chima).
The backdrop for these wedding attire features four different themes: the sun, moon and five mountains depicting health, longevity and matrimonial harmony; a peony symbolizing wealth, prosperity, longevity and purity; ducks symbolizing success in life and prominence; and mandarin ducks depicting love and conjugal harmony.
The stamp also shows the traditional wedding costumes of the four main ethnic races of Singapore, a multiracial nation - the Chinese, Malay, Indian and Eurasian.
The Chinese wedding costumes feature the ‘lucky’ color ? red. Brides traditionally wear clothing embroidered with golden phoenixes, peonies and chrysanthemums ? flowers symbolizing wealth and good fortune. The groom’s outfit is a black silk coat worn over a robe of dark blue.
Malay wedding costumes show a regal touch. Considered royalty for the day, the couple’s attire is elaborate and glittery, adorned with abundant wedding jewellery.
Indian wedding costumes also feature red in all hues as the color of happiness and prosperity. Especially in Tamil weddings, the bride wears red and gold at the main ceremony. The bridegroom usually wears white. His shirt is embroidered with golden threads and worn over white pants or skirts.
The Eurasian wedding costumes reflect the mix of two cultures: European and Asian.
Their wedding attire primarily comprises white representing purity and the bride carries a bouquet of flowers at the ceremony.
The stamp was designed by Professor Yun Yeo-Whan of Chungnam National University with Korea’s traditional wedding costumes researched from the historical viewpoint by Professor Park Sung-Sil of Dankook University.
Date of Issue: 30 March 2007
Quantity: 300,000 stamps each
Printing Process & Colors: Photogravure, Five colours
Sheet Composition: 4x4 (Eight stamps setenant, 147mm x 225mm)
Paper: 13
Printer: Korea Minting and Security Printing Corporation
Types: 8
Denomination: KRW 250, 480, 520, 580, 600
Size of Stamp: 30mm x 40mm
Image Area: 27mm x 37mm
Perforation 13
Designer: Kim, So-jeong
Korea’s traditional wedding attire depicted on the stamp is from the Joseon Dynasty (1392-1910).
Generally, a bridegroom’s wedding garments include a coronet with wings (Samo) and an official robe with a round collar (Dallyeong) with embroidered insignia (Hyungbae). The bride wears an embroidered court robe (Hwarot) or a ceremonial robe (Wonsam). She would also do up her hair in the ceremonial style, colorfully decorated with a coronet adorned with jewelry (Jokduri), a fluttering hair accessory (Tteoljam), or with a hair ribbon (Daenggi).
The stamp shows a purple-colored Dallyeong with Hyungbae spun with golden thread; splendidly embroidered Hwarot; blue-colored Dallyenong with a twin-crane Hyungbae; green-colored Wonsam spun with golden thread; deep blue-colored Dallyeong; and green-colored Wonsam.
The stamp also shows formal wear worn under these wedding costumes: the bridegroom’s baggy pants (Baji), jacket (Jeogori) and overcoat (Durumagi); the bride’s green jacket (Jeogori) and red skirt (Chima).
The backdrop for these wedding attire features four different themes: the sun, moon and five mountains depicting health, longevity and matrimonial harmony; a peony symbolizing wealth, prosperity, longevity and purity; ducks symbolizing success in life and prominence; and mandarin ducks depicting love and conjugal harmony.
The stamp also shows the traditional wedding costumes of the four main ethnic races of Singapore, a multiracial nation - the Chinese, Malay, Indian and Eurasian.
The Chinese wedding costumes feature the ‘lucky’ color ? red. Brides traditionally wear clothing embroidered with golden phoenixes, peonies and chrysanthemums ? flowers symbolizing wealth and good fortune. The groom’s outfit is a black silk coat worn over a robe of dark blue.
Malay wedding costumes show a regal touch. Considered royalty for the day, the couple’s attire is elaborate and glittery, adorned with abundant wedding jewellery.
Indian wedding costumes also feature red in all hues as the color of happiness and prosperity. Especially in Tamil weddings, the bride wears red and gold at the main ceremony. The bridegroom usually wears white. His shirt is embroidered with golden threads and worn over white pants or skirts.
The Eurasian wedding costumes reflect the mix of two cultures: European and Asian.
Their wedding attire primarily comprises white representing purity and the bride carries a bouquet of flowers at the ceremony.
The stamp was designed by Professor Yun Yeo-Whan of Chungnam National University with Korea’s traditional wedding costumes researched from the historical viewpoint by Professor Park Sung-Sil of Dankook University.
Date of Issue: 30 March 2007
Quantity: 300,000 stamps each
Printing Process & Colors: Photogravure, Five colours
Sheet Composition: 4x4 (Eight stamps setenant, 147mm x 225mm)
Paper: 13
Printer: Korea Minting and Security Printing Corporation
Types: 8
Denomination: KRW 250, 480, 520, 580, 600
Size of Stamp: 30mm x 40mm
Image Area: 27mm x 37mm
Perforation 13
Designer: Kim, So-jeong
Thursday, January 1, 2009
San Marino - Coat of Arms
Coat of Arms San Marino
The national coat-of-arms consists of an azure background with three silver towers, windows and walls outlined in black and Guelph-style battlements. The towers are sitting on three green peaks (Cesta, Guaita and Montale); each tower has a silver plume on the summit.
The coat-of-arms is situated on a heart-shaped shield and bordered in gold with a laurel branch on the right and an oak branch on the left. On the bottom the branches are joined by a ribbon with the motto "Libertas".
On April 6, 1862, a deliberation was made to add, on the top of the shield, an eight-pointed crown closed by three semicircles, studded with pearls and connected to a globe with a cross. The crown represented the sovereignty of the Republic which acknowledged no higher authority than itself.
The various Municipalities of the Republic each have their coat-of-arms:
- City of San Marino: few variations have been made to the National coat-of-arms, three gold towers with white plumes at the top; on the bottom a wall with the motto "Libertas"
- Borgo Maggiore: originally Mercatale – the second largest Castel. The coat-of-arms depicts the location of this Municipality at the foot of Mount Titano
- Serravalle: literally the name means "that closes the valley", with reference to its strategic position. The coat-of-arms, depicting a red tower, alludes to its defensive role ("azure background, square red tower adorned with three Ghibelline battlements")
- Domagnano: originally called Montelupo, the coat-of-arms depicts a wolf in the foreground and the ruin of a tower on top of a hill
- Fiorentino: gold with three red roses. The three flowers (fiori) refer to its name
- Acquaviva: the coat-of-arms corresponds to its previous name: Montecerreto. "Azure, with three turkey oak trees with leafy green branches arranged in a triangular form"
- Faetano: the coat-of-arms represents the name of the territory, deriving from "beech", in particular, "a Forest of Beech Trees"; in gold showing an uprooted beech tree
- Montegiardino: the coat-of-arms clearly captures the place/name: "Azure background, with three red roses with green leafy stems, in a fan-shape, on top of a mountain with three gold peaks"
- Chiesanuova: the original name was Pennarossa (red plume) which is depicted on the coat-of-arms: "azure background with a red plume"
The coat of arms of San Marino probably originates in the 14th Century, and can be seen as a whole as a symbol of freedom and independence of the oldest republic in the world.
The components of the coat of arms are in detail:
- In the blue shield there are three green mountains with three silver towers, which are decorated with a weather vane with a silver ostrich feather. The towers symbolize the three citadels of San Marino (La Guaita, La Cesta and La Montale), while the hills represent the three summits of the Monte Titano. See: The Three Towers of San Marino
- The motto "LIBERTAS" (Lat. freedom). It possibly refers to the taking in of victims of political persecution in the earlier years of San Marino, and to the amazing maintenance of independence in the midst of many larger states. The motto could also have developed from the alleged last words of the founder Marinu "Relinquo vos liberos ab utroque homine" (Lat. "I leave you free from both men"). [1]
- An oak- and laurel branch, which surrounds the coat of arms are symbols for the stability of the republic and the defense of the liberty.
- A crown, which serves a symbol of the sovereignty.
The coat of arms of San Marino adorns among other things the flag of the country and the logo of the Sammarinese football team FSGC.
Cyprus 1994 - Traditional Costumes
Technical Details:
Date of Issued: 27 December 1994
Designer: Antis Ioannides, Nicosia, Cyprus
Printers: Graphic Arts, Alex Matsoukis Graphic Arts SA, Greece
Text: Eleni Papadimitriou, Nicosia, Cyprus (Expert in Folklore, Cultural Officer)
Printing Method: Litho-Offset on Watermark
Size of Stamps: 27 mm x 40 mm
1 Cent - Paphos, Female Costume, Foustani (500,000)
2 Cent - Karpass Bridal Costume, Routjetti (500,000)
3 Cent - Paphos Female Costume, Sayia (300,000)
5 Cent - Messaoria Female Costume, Foustani (3,000,000)
7 Cent - Bridegroom's Costume (3,000,000)
10 Cent - Messaoria Shepherd's Costume (3,000,000)
15 Cent - Nicosia Festive Female Costume (2,000,000)
20 Cent - Karpass Festive Female Costume, Sayia (5,000,000)
25 Cent - Mountain - Pitsillia Female Costume (2,500,000)
30 Cent - Karpass Festiva Female Costume, Doupletti (1,000,000)
35 Cent - Rural Male Costume (1,000,000)
40 Cent - Messaoria Plain Fstive Male Costume (1,000,000)
50 Cent - Urban Male Costume (1,000,000)
1 Pound - Urban Festive Female Costume, Sarka (1,000,000)
In contrast to the costumes work in towns, which sometimes indicated social standing and foreign influences, in the villages there was a relative uniformity in traditional costumes, a fact attributable to the more or less leveled type of society in the rural areas.
The bridal dress was usually festive, with some jewellery added and the "veil", usually made of red transparent purple cloth were the only distinguishable difference between her and the other guests.
There were, nevertheless, local variations both in the daily and in the festive costumes. The female gown was long with the characteristic long trousers tied around the ankle.
In distant Karpass peninsula the "sayia", an outer gown open in front, was richly decorated with multi-coloured horizontal stripes, the "moustres" and woven or applique embroidery. In the Karpass as well as in Paphos, the "sayia" which previously was being work across Cyprus, continued to be preserved until the first decades of the twentieth century. In both areas the bottom of the long baggy trousers emerging below the "sayia" was also richly ornamented with tapestry-woven embroideries.
In the mountain villages, as well as in many other areas of Cyprus, women wore long dresses with pleats from the waist the "foustani", a dress with a deep opening at the breast, the "trahelia", and the "sayia", through which one could see the white blouse underneath.
The textiles used for the outer clothes were mostly striped or checked local cotton materials, in rich coloured combinations, the "aladjes". Although the "aladjes" varied from area to area, everyday clothes were usually in darker colours than the ones worn on special occations.
In the towns women wore the "Amalia dress", widely known to the Greeks since the 19th century. The Cypriot variation, especially seen in Nicosia, consists of a multicoloured silk shirt and a short jacket, the "Sarka" which was decorated with rich applique work.
A silk blouse with lace at the cuffs and neck would show through the front opening of the "Sarka" and under the sleeves. In the towns women sometimes wore a fez instead of the stamped head - scarf, bordered with lace, worn by peasant women.
Men wore the "vraka" baggy trousers, similar to those worn in the Greek Islands and coastal areas of the Eastern Mediterranean. The length and the width of the "vraka" varied from region to region, whilst the colour was usually dark-blue. "Vraka" was warn with a waistcoat, the sleeves "gilekko" and the "Zimbouni" with sleeves, made of local cotton striped material, the "aladja", or imported woolen and velvet worn by the groom or on special occasions. On such occasions the "gilekko" and the "zimbouni" were richly ornamented with applique embroidery, while the usual woolen girdle, the "zostra", was replaced by a silk multicoloured grdle, the "ttalapoulouzi", tied at the waiste. In towns and in villages men wore heavy leather boots, the "podines", both in winters and summers while women wore short studded boots, the "bodinia".
Men used to wear on their heads a hat, "fesi", with or without a kerchief, or a kerchief without fesi.
Most of the traditional and better preserved Cypriot costumes found in public and private collections date back to the 18th, 19th and early 20th century.
Source: Department of Postal Services, Republic of Cyprus.
Date of Issued: 27 December 1994
Designer: Antis Ioannides, Nicosia, Cyprus
Printers: Graphic Arts, Alex Matsoukis Graphic Arts SA, Greece
Text: Eleni Papadimitriou, Nicosia, Cyprus (Expert in Folklore, Cultural Officer)
Printing Method: Litho-Offset on Watermark
Size of Stamps: 27 mm x 40 mm
1 Cent - Paphos, Female Costume, Foustani (500,000)
2 Cent - Karpass Bridal Costume, Routjetti (500,000)
3 Cent - Paphos Female Costume, Sayia (300,000)
5 Cent - Messaoria Female Costume, Foustani (3,000,000)
7 Cent - Bridegroom's Costume (3,000,000)
10 Cent - Messaoria Shepherd's Costume (3,000,000)
15 Cent - Nicosia Festive Female Costume (2,000,000)
20 Cent - Karpass Festive Female Costume, Sayia (5,000,000)
25 Cent - Mountain - Pitsillia Female Costume (2,500,000)
30 Cent - Karpass Festiva Female Costume, Doupletti (1,000,000)
35 Cent - Rural Male Costume (1,000,000)
40 Cent - Messaoria Plain Fstive Male Costume (1,000,000)
50 Cent - Urban Male Costume (1,000,000)
1 Pound - Urban Festive Female Costume, Sarka (1,000,000)
In contrast to the costumes work in towns, which sometimes indicated social standing and foreign influences, in the villages there was a relative uniformity in traditional costumes, a fact attributable to the more or less leveled type of society in the rural areas.
The bridal dress was usually festive, with some jewellery added and the "veil", usually made of red transparent purple cloth were the only distinguishable difference between her and the other guests.
There were, nevertheless, local variations both in the daily and in the festive costumes. The female gown was long with the characteristic long trousers tied around the ankle.
In distant Karpass peninsula the "sayia", an outer gown open in front, was richly decorated with multi-coloured horizontal stripes, the "moustres" and woven or applique embroidery. In the Karpass as well as in Paphos, the "sayia" which previously was being work across Cyprus, continued to be preserved until the first decades of the twentieth century. In both areas the bottom of the long baggy trousers emerging below the "sayia" was also richly ornamented with tapestry-woven embroideries.
In the mountain villages, as well as in many other areas of Cyprus, women wore long dresses with pleats from the waist the "foustani", a dress with a deep opening at the breast, the "trahelia", and the "sayia", through which one could see the white blouse underneath.
The textiles used for the outer clothes were mostly striped or checked local cotton materials, in rich coloured combinations, the "aladjes". Although the "aladjes" varied from area to area, everyday clothes were usually in darker colours than the ones worn on special occations.
In the towns women wore the "Amalia dress", widely known to the Greeks since the 19th century. The Cypriot variation, especially seen in Nicosia, consists of a multicoloured silk shirt and a short jacket, the "Sarka" which was decorated with rich applique work.
A silk blouse with lace at the cuffs and neck would show through the front opening of the "Sarka" and under the sleeves. In the towns women sometimes wore a fez instead of the stamped head - scarf, bordered with lace, worn by peasant women.
Men wore the "vraka" baggy trousers, similar to those worn in the Greek Islands and coastal areas of the Eastern Mediterranean. The length and the width of the "vraka" varied from region to region, whilst the colour was usually dark-blue. "Vraka" was warn with a waistcoat, the sleeves "gilekko" and the "Zimbouni" with sleeves, made of local cotton striped material, the "aladja", or imported woolen and velvet worn by the groom or on special occasions. On such occasions the "gilekko" and the "zimbouni" were richly ornamented with applique embroidery, while the usual woolen girdle, the "zostra", was replaced by a silk multicoloured grdle, the "ttalapoulouzi", tied at the waiste. In towns and in villages men wore heavy leather boots, the "podines", both in winters and summers while women wore short studded boots, the "bodinia".
Men used to wear on their heads a hat, "fesi", with or without a kerchief, or a kerchief without fesi.
Most of the traditional and better preserved Cypriot costumes found in public and private collections date back to the 18th, 19th and early 20th century.
Source: Department of Postal Services, Republic of Cyprus.
Spain - Moda Espanola, Balenciaga 2007
Spanish Fashion - BalenciagaDate of Issue: 18/10/2007
Gravure: Stamping
Coated: paper, gummed, phosphorescent
Perforated: 13 3 / 4
Size: 28.8 x 49.8 mm seal. (Vertical)
Sheet size: 105 x 150 mm block. (Vertical)
Face value of the stamps: 0.39, 0.42, 0.58 and 0.78 €
Editional: 500,000 block
Speaking of fashion in dress is to talk about trends, catwalks, fashion and models, is to refer to a world where fashion designers and teachers of the art design the costumes combine with new fabrics and textures to show the newest and current. Post dedicates this issue, consisting of a souvenir sheet with four stamps, the Spanish fashion and one of the most famous creators of our country, Balenciaga.
Among the names that have a place of honor in the pages of international fashion figure in Spanish Cristóbal Balenciaga (Guetaria [Guipúzcoa] 1895-Valencia 1972). Driver of a new style that was struggling to "the fineness of simplicity," Balenciaga teacher began his apprenticeship in Madrid. After opening the first couture house in San Sebastian, Madrid and Barcelona, in 1937 moved to Paris, where he soon wins the haute couture for its sobriety and its richness in evening gowns. In the fifties, creates a new line dresses tight bust, waist and hips wasp voluminous coats without collars or buttons, Japanese manga, tunic dresses empire line or call. His designs were dressed Queen Fabiola of Belgium, Princess Grace of Monaco and the Duchess of Windsor. Contrary to the current overcrowding of fashion and prêt-à-porter, retired in 1968.
The souvenir sheet is illustrated by a representative of the different costumes hours a day, so the € 0.39 stamp reproduces a chantilly lace dress over transparent ivory taffeta. Bring cut to the waist and broad flight. It was made in Paris between 1948-1950
The value of 0.42 shows a costume party, two-piece red silk satin. The bullfighter, Japanese manga, is embroidered with sequins, lamé gold braid and silver threads. Paris 1960.
A set consisting of streets in red dress and coat, made in the sixties, is the reason that illustrates the seal of 0.58 euros.
The final seal of 0.78 euros, includes a yellow linen shirt dress with neckline to the box and strip. The manga is Japanese and slightly ruched skirt boards. Closes with 11 buttons of the same color paste.
The images that appear on the stamps have been transferred by the Museum of Costume in Madrid, an institution which aims to raise awareness of the historical evolution of the clothing of the peoples of Spain.
Gravure: Stamping
Coated: paper, gummed, phosphorescent
Perforated: 13 3 / 4
Size: 28.8 x 49.8 mm seal. (Vertical)
Sheet size: 105 x 150 mm block. (Vertical)
Face value of the stamps: 0.39, 0.42, 0.58 and 0.78 €
Editional: 500,000 block
Speaking of fashion in dress is to talk about trends, catwalks, fashion and models, is to refer to a world where fashion designers and teachers of the art design the costumes combine with new fabrics and textures to show the newest and current. Post dedicates this issue, consisting of a souvenir sheet with four stamps, the Spanish fashion and one of the most famous creators of our country, Balenciaga.
Among the names that have a place of honor in the pages of international fashion figure in Spanish Cristóbal Balenciaga (Guetaria [Guipúzcoa] 1895-Valencia 1972). Driver of a new style that was struggling to "the fineness of simplicity," Balenciaga teacher began his apprenticeship in Madrid. After opening the first couture house in San Sebastian, Madrid and Barcelona, in 1937 moved to Paris, where he soon wins the haute couture for its sobriety and its richness in evening gowns. In the fifties, creates a new line dresses tight bust, waist and hips wasp voluminous coats without collars or buttons, Japanese manga, tunic dresses empire line or call. His designs were dressed Queen Fabiola of Belgium, Princess Grace of Monaco and the Duchess of Windsor. Contrary to the current overcrowding of fashion and prêt-à-porter, retired in 1968.
The souvenir sheet is illustrated by a representative of the different costumes hours a day, so the € 0.39 stamp reproduces a chantilly lace dress over transparent ivory taffeta. Bring cut to the waist and broad flight. It was made in Paris between 1948-1950
The value of 0.42 shows a costume party, two-piece red silk satin. The bullfighter, Japanese manga, is embroidered with sequins, lamé gold braid and silver threads. Paris 1960.
A set consisting of streets in red dress and coat, made in the sixties, is the reason that illustrates the seal of 0.58 euros.
The final seal of 0.78 euros, includes a yellow linen shirt dress with neckline to the box and strip. The manga is Japanese and slightly ruched skirt boards. Closes with 11 buttons of the same color paste.
The images that appear on the stamps have been transferred by the Museum of Costume in Madrid, an institution which aims to raise awareness of the historical evolution of the clothing of the peoples of Spain.
Malaysia - Royal Headgear 2008
Technical Details:
Date of Issue: 16 September 2008
Subject: Royal Headgear
Width: 32.00 mm
Height: 27.00 mm
Denomination: 0.50 Malaysian Ringgit
Number in set: 10 (Show Set)
Perforations: 14.00 mm x 14.00 mm
Stamp issuing authority: POS Malaysia
Printer: Percetakan Keselamatan Nasional Sdn Bhd
Printing Process: Lithography
Paper: Watermarked SPM, Phosphor Coated
Designer: Prof Dato Raja Zahabuddin Raja Yaacob
0.50 Malaysian Ringgit - Tengkolok Tengkolok Diraja (Royal Headgears)
0.50 Malaysian Ringgit - Tengkolok Diraja Seri Paduka Baginda Yang Di-Pertuan Agung (Dendam Tak Sudah)
0.50 Malaysian Ringgit - Tengkolok Diraja Kedah (Dendam Tak Sudah)
0.50 Malaysian Ringgit - Tengkolok Diraja Negeri Sembilan (Dendam Tak Sudah)
0.50 Malaysian Ringgit - Tengkolok Diraja Pahang (Sekelungung Bunga)
0.50 Malaysian Ringgit - Tengkolok Diraja Kelantan (Ketam Budu)
0.50 Malaysian Ringgit - Tengkolok Diraja Perak (Ayam Patah Kepak)
0.50 Malaysian Ringgit - Tengkolok Diraja Perlis (Dendam Tak Sudah)
0.50 Malaysian Ringgit - Tengkolok Diraja Selangor (Setanjak Balung Raja)
0.50 Malaysian Ringgit - Tengkolok Diraja Terengganu (Belalai Gajah)
The Royal Headdress or "Tengkolok" is part of the ceremonial attire of the Malay Rulers. For centuries, Malay Rulers had been wearing headdress made of woven silk fabric that is shaped into different styles for a few hundred years as part of their regalia since the days of the Malay sultanate. This headdress is also called "Destar" and the style of folding is called solek, The colours of the headdress varies from one state to another. There are various styles of folding, among them Anak Gajah Menyusu, Lang Menyusur Angin, Garam Sebuku (Getam Pekasam), Pucuk Pisang Patah, Ayam Patah Kepak and Dendam Tak Sudah.
Headdress of Seri Paduka Baginda Yang Dipertuan Agong
The royal headdress worn by His Majesty the Yang Dipertuan Agong during his Majesty's Coronation is made of black fabric with gold embroideries. This Destar is know as the Dendam Tah Sudah and its style originated from Negeri Sembilan. The front of the destar is affixed with a crescent, a fourteen-pointed star made of platinum and in the middle star is the colourful Malaysian emblem.
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