stamp

Venezuela - Army Days, Military Uniforms 2011

noreply@blogger.com (Jefferson) — Tue, 29 May 2012 14:24:00 +0000

Turks & Caicos Islands - Military Uniforms 1975

noreply@blogger.com (Jefferson) — Sun, 27 May 2012 12:53:00 +0000

Issued on: 26 March 1975
Perforations: 14 1/2

Military Uniforms:
05c - Spanish Captain 1492.
20c - Officer, Royal Artillery, 1783.
25c - Officer, 67th Foot, 1798.
35c - Private, First West India Regiment, 1833.

Australia - Colonial Military Uniforms 1985

noreply@blogger.com (Jefferson) — Thu, 24 May 2012 13:43:00 +0000

Colonial Military Uniforms:
With a sense of derring-do, the young men of Australia drilled to defend the colonies from potential aggressors during the latter decades of the nineteenth century. In the main, they were volunteers who proudly donned their colourful uniforms on weekends - returning to the daily rounds of civilian life on Monday mornings. Scores of colonial regiments were formed throughout the country, five of which are represented here: Royal Victorian Volunteer Artillery, Western Australian Pinjarrah Cavalry, New South Wales Lancers, New South Wales Contingent to the Sudan, and Victorian Mounted Rifles.

The New South Wales Contingent was Australia's first fighting force to serve in an overseas campaign, and this issue of stamps coincides with the centenary of their departure for the Sudan.

The New South Wales Lancers (then known as the Sydney Light Horse) made its first public appearance in the Sudan Contingent's departure parade.

Technical Details:
Stamp Designs: Pam Andrews, Australia
Typography: Sue Titcher, Australia Post Graphic Design Studio
Printer: Leigh-Mardon Pty Limited, Melbourne
Printing Process: PhotolithographyPaper: APWH Stamp Paper
Stamp Size: 26mm x 37.5mm
Perforatons: 14 1/2
Issued Sheet Content: 100 stamps (two panes of fifty) with "traffic light" in the gutter.Stamps arranged in se-tenant formatStamp
Pack Design: Keryn Christos, Australia Post Graphic Design Studio
Stamp Pack Illustration: "The Embarkation of The Sudan Contingent at Circular Quay, Sydney, 3rd March 1885" by Arthur Collingridge - oil on canvas - reproduced by courtesy of Australian War Memorial, Canberra.

Moldova - Traditional Costumes 2012

noreply@blogger.com (Jefferson) — Tue, 22 May 2012 12:19:00 +0000

On April 7, 2012 the post office in Chisinau MD-2012 was issued series of postage stamps "for head coverings and traditional costumes."
Series of postage stamps "for head coverings and traditional costumes" is composed of three stamps and a souvenir sheet and a postage stamp is issued under the Regional Communications Agreement.

Postmark on the nominal value of 85 money is the little corner - cloak traditionally female head.
Postmark on the nominal value of 1.20 lei is the hat (straw) - Head men's traditional cloak.
Postmark on the nominal value of 3 lei is the kerchief - cloak traditionally female head.

The postmark on the souvenir sheet with nominal value of 8.50 lei are the traditional wedding costumes (inc. sec. XX).

Designer: Elena Karachentseva.

Kosovo - Traditional Clothes, Elements of Hasi Region Dress 2011

noreply@blogger.com (Jefferson) — Sun, 13 May 2012 07:57:00 +0000

Kosovar Tradition - Element of Has Dress

Issued on 19 October 2011
Nominal Values: EUR 2 (SS), EUR 1, EUR 0.70, EUR 0.50, EUR 0.30
Sheet Mint: 10 postage stamps
Size of Stamp: 27.00mm x 35.00mm
Printing: Offset
Paper: 102 gsm
Printing House: Leoprint
Postage Stamp Designer: K.Zhjeqi, S.Berlajolli, D.Kursani

A characteristic of this dress is the back part of sleeve which is quite wide in both sides of the belt, wherein the decoration of the wooden sleeve is more apparent, including motifs and filled selected colors such as black, violet red or blue.

One would usually keep a white handkerchief on her head, which is drawn on shoulders with some simple and elegant motifs, closely linked with long sleeves shirt, whose motifs are lovely combined with those of handmade wool socks.

Therefore, taking into account the special valus of this dress and the motif that those be maintained, created and inherited by future generations.
Philately of Kosova launches the edition of postage stamps titled "Kosovar Tradition - Element of Has Dress".

Laos - Women's Traditional Costumes 2002

noreply@blogger.com (Jefferson) — Sat, 07 Apr 2012 09:07:00 +0000

Women's Traditional Costumes:

Issued on 10 January 2002
Perforation: 14 x 14 1/2

Lao Kip 200 - Meuy
Lao Kip 300 - Leu
Lao Kip 500 - Tai Kouane
Lao Kip 700 - Tai Dam
Lao Kip 1000 - Tai Men
Lao Kip 1500 - Lanten
Lao Kip 2500 - Hmong
Lao Kip 3000 - Phouxang
Lao Kip 3500 - Taitheng
Lao Kip 4000 - Tai O
Lao Kip 5000 - Tai Dam

Vietnam - Traditional Costumes of Vietnamese Women (Ao Dai) 2012

noreply@blogger.com (Jefferson) — Thu, 05 Apr 2012 14:08:00 +0000

Ao Dai of Vietnamese women

Ao Dai is Vietnam's traditional dress, which was first designed over hundred years ago. This traditional dress was renewed many times under different namesand finally became Vietnam ladies' current formal dress. It is usually worn in formal events, festivals and is now a popular uniform for girl students.

Date of issue: 08 March 2012
Stamp size: 31x46 (mm)
Perforation: 13
Sheet composition: 25
Designers: Ms. Vu Kim Lien
Printing process: Offset
Colour: Multicoloured
Paper: Gummed
Printer: Postal Stamps Printing Company (in Ho Chi Minh City)

Vietnam - Quan họ Bắc Ninh Folk Song 2011

noreply@blogger.com (Jefferson) — Thu, 05 Apr 2012 14:03:00 +0000

Quan họ Bắc Ninh (cultural heritage intangible representation of humanity)

Quan họ Bắc Ninh are folk songs of Northern delta of Vietnam. The songs are performed as alternating verses between two women from one village who sing in harmony, and two men from another village who respond with similar melodies. It also is a form ofinstantexchange oflovebetweenmen and women. Quan họ Bắc Ninh is recognized as the cultural heritage intangible representation of humanity by UNESCO on 30th of September 2009.

Date of issue: 15 January 2011
Stamp size: 43 x 32 (mm) & 32 x 43 (mm)
Block size: 90 x 60 (mm)
Perforation: 13
Sheet composition: 20 (4x5)
Designer: Mr. Nguyen Du & Mr. Đỗ Lệnh Tuấn
Printing process: Offset
Colour: Multicoloured
Paper: Gummed
Printer: Postal Stamps Printing Company (in Ho Chi Minh City)

Vietnam - Hue's Court Music 2008

noreply@blogger.com (Jefferson) — Thu, 05 Apr 2012 13:58:00 +0000

Hue's Court Music (The Masterpieces of the Oral and Intangible Heritage of Humanity)

Date of issue: 03 June 2008
Stamp size: 60 x 25 (mm)
Block size: 100 x 61 (mm)
Perforation: 13
Sheet composition: 20 (2x10)
Designer: Mrs. Hoang Thuy Lieu
Printing process: Offset
Colour: Monocoloured
Paper: Gummed
Printer: Postal Stamps Printing Company (in Ho Chi Minh City)

Vietnam Dong 800 - Large Scale Orchestra
Vietnam Dong 4000 - Small Scale Orchestra
Vietnam Dong 8000 - Ceremonial Lanterns
Vietnam Dong 9000 - Vietnamese Court Music

The Court music of Huế is the last heritage of Court music of Vietnam. It carries in itself all elites of the Vietnamese Court musicology, formed and developed for more than thousand years.

It is officially formed with the dynasty foundation from beginning of the XIXe century. Nevertheless, the first bases had already begun since the XVIIe century under the Nguyễn lords at the time of their conquests in the Đàng Trong (The South of the Vietnam). From the beginning, it carried already in itself kinds, elements and elites of the Đàng Ngoài (the North of the Vietnam) musicology that Đào Duy Từ brought while accompanying lord Nguyễn.
The most prosperous period of the Court music of Huế is between the first half of the XIXe century and the time under king Tự Đức (1848-1883).

Afterwards, it fell in degradation when the French colonizing began their aggressive war. And after the Revolution of August 1945, it totally disappeared with the Vietnamese monarchy.

The years 1947-1948, thanks to mustering Court artists from the king Bảo Đại time of Lady Từ Cung (King Bảo Đại's Mother), some kinds of the Court music are continued. Under Ngô Đình Diệm, the authority of Saigon financially supported performances of two groups Ba Vũ and Cổ nhạc Đại Nội (Former music of the forbidden Court), representatives of the Vietnam traditional music while welcoming chiefs of State and diplomatic delegations.

Afterwards, group Ba Vũ met financial difficulties, the Court music was threatened to disappear. The years 80, it recommenced to be interested by the Ministry of Culture and local authorities. Until the years 90, it entered into the renaissance period. Certain kinds of Court music were increased one after another, with the foundation of the Traditional Arts Group of Huế and Theater of the traditional Court music of Huế. So far, this art kind already was introduced in several countries of the world. Nevertheless, the today Court music of Huế just remains a part of the former one; it is nevertheless a precious heritage, gasoline of knowledge and competence of the Vietnamese art. Therefore,

November 2003, she is recognized by the UNESCO on the list of the intangible and oral heritages of humanity.

Iraq - Traditional Iraqi Costumes 2011

noreply@blogger.com (Jefferson) — Thu, 15 Mar 2012 14:20:00 +0000

Iraqi costumes:

Date of issue: 03 November 2011
Denominations: five 500 Dinars stamps set in addition to a 500 Dinars S/Sheets
Stamps designed by: Faroq Hassan.
Stamp dimensions: 3.0 x 4.0 cm, while it is 8.00 x 8.00 cm for the S/Sheets.
Stamps perforation: 13.25 and imperforated for the S/Sheet.
Each stamp sheet consists of 5 vertical x 5 horizontal stamps. All 4 margins are white.
Color and Printing Method: Multicolored Lithography on glossy white pre-gummed paper. Phosphor overprint showing the Iraqi post logo on each stamp.
Printed in the Green Glory Privet printing house in Beirut, Lebanon.
Quantity printed 30.000 from each stamp denomination plus 5.000 S/Sheet

Canada - Provincial Arms & Flowers 1964 - 1966

noreply@blogger.com (Jefferson) — Wed, 29 Feb 2012 15:47:00 +0000

Canada - Provincial Flowers & Arms (1964 - 1966):

Cents 5 - Three Maple Leaf Emblem (Canadian Unity) (issued on 14 May 1964)
Cents 5 - White Trillium and arms of Ontario (issued on 30 June 1964)
Cents 5 - White garden lily and arms of Quebec (issued on 30 June 1964)
Cents 5 - Mayflower (trailing arbutus) and arms of Nova Scotia (issued on 03 February 1965)
Cents 5 - Purple violet and arms of New Brunswick (issued on 03 February 1965)
Cents 5 - Prairie crocus arms of Manitoba (issued on 28 April 1965)
Cents 5 - Dogwood and arms of British Columbia (issued on 28 April 1965)
Cents 5 - Lady’s slipper and arms of Prince Edward Island (issued on 21 July 1965)
Cents 5 - Prairie lily and arms of Saskatchewan (issued on 19 January 1966)
Cents 5 - Wild rose and arms of Alberta (issued on 19 January 1966)
Cents 5 - Pitcher plant and arms of Newfoundland (issued on 23 February 1966)
Cents 5 - Fireweed and arms of Yukon (issued on 23 March 1966)
Cents 5 - Mountain avens and arms of Northwest Territories (issued on 23 March 1966)
Cents 5 - Maple leaf and arms of Canada (issued on 30 June 1966)

Papua New Guinea - Traditional Dances (Victory) 2011

noreply@blogger.com (Jefferson) — Sat, 14 Jan 2012 11:12:00 +0000

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Papua New Guinea - Body Tattoo 2011

noreply@blogger.com (Jefferson) — Sat, 14 Jan 2012 11:10:00 +0000

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

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

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

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

Body Tattoos from Papua New Guniea

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

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

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

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

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

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

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

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

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

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

France - Laces 2011

noreply@blogger.com (Jefferson) — Sat, 31 Dec 2011 07:18:00 +0000

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

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

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

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

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

Belarus - Belarusian National Clothes 2011

noreply@blogger.com (Jefferson) — Sat, 31 Dec 2011 07:02:00 +0000

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

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

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

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

Spain - Moda Espanola, Elio Berhanyer 2011

noreply@blogger.com (Jefferson) — Wed, 07 Dec 2011 11:50:00 +0000

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

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

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

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

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

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

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

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

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

Spain - Autonomous Regions 2011

noreply@blogger.com (Jefferson) — Wed, 07 Dec 2011 11:49:00 +0000

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

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

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

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

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

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

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

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

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

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

Namibia - Tribal Women 2001

noreply@blogger.com (Jefferson) — Tue, 01 Nov 2011 13:20:00 +0000

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

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

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

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

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

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

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

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

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

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

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

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

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

Namibia - Traditional Roles of Men 2006

noreply@blogger.com (Jefferson) — Tue, 01 Nov 2011 13:02:00 +0000

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

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

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

Uruguay - UPAEP, Traditional Dances 2008

noreply@blogger.com (Jefferson) — Tue, 01 Nov 2011 13:01:00 +0000

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

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

Thailand - Thai Philatelic Exhibition, Traditional Dances 2011

noreply@blogger.com (Jefferson) — Thu, 20 Oct 2011 22:45:00 +0000

Date of Issue: 04 August 2011

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

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

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

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

Indonesia - Traditional Textile of Indonesia 2011 (#3)

noreply@blogger.com (Jefferson) — Sun, 16 Oct 2011 06:09:00 +0000

MS without Overprint + Perforation

MS with Overprint + Perforation

MS with Overprint + Non Perforation

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

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

IDR 5000 - Tari Topeng, West Java (SS)

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

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

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

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

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

Uruguay - Definitive Stamps 2010

noreply@blogger.com (Jefferson) — Sat, 24 Sep 2011 11:39:00 +0000

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

7.00 Uruguayan Pesos - Caramel Maker (Circulation: 200000)

Uruguay - Definitive Stamps 2010

noreply@blogger.com (Jefferson) — Sat, 24 Sep 2011 11:34:00 +0000

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

25.00 Uruguayan Pesos - The Fishmonger (Circulation: 200000)

Uruguay - Definitive Stamps 2010

noreply@blogger.com (Jefferson) — Sat, 24 Sep 2011 11:30:00 +0000

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

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