Novi, ručno rađeni, mekani kardigan, pogodan za prelazni period; može se nositi preko majice, košulje, tunike... Atraktivan i jako prijatan pri dodiru sa kožom. Veličina i dimenzije: M/L (najbolje pristaje damama koje nose veličine 42 i 44; dužina kardigana niz leđa ≈ 80 cm) Sirovinski sastav:100% pamuk Tekstura je krupna i rastresita, što ovom odevnom predmetu daje mekoću i gipkost. Kroj je ravan, spuštenih rukava, tako da se kardigan lako oblikuje prema različitoj širini ramena i konturama tela. Masivan je i ima pad. Veseli i intenzivni kolorit ostavlja brojne mogućnosti kombinovanja. Način održavanja: prati ručno na temperaturi do 40°C. Sušiti na ravnoj podlozi kako bi se sprečilo istezanje. Ne izbeljivati niti peglati. Uslovi prodaje: obavezno me kontaktirajte, kako bih vam predočila uslove prodaje. Na teritoriji Srbije, besplatna dostava kurirskom službom. Izvolite pogledati sve moje oglase; verujem da ćete naći nešto zanimljivo.

Original Nike duks. Made in VIETNAM. Kupljen u sportu placen 8500 din. Potpuno nov, nikada nije nosen. Velicina je M, ali je model presirok. I moze za XL, XXL. Poluobim ramena 62. Od pazuha do pazuha 67. Duzina duksa oko 70. Realna boja je kao na devojci narandžasta.

VALENTINO kardigan sa cipkom Kao NOV Od pazuha do pazuha mereno na ledjima 44-47 Duzina 52,5

DŽEMPER ŠTRIKAN OD KOŽE Ručni rad džemper od kožnih niti Proizvodnja: Umetnička radionica fabrike Željzničar iz Subotice Materijal: Pamuk i koža 100 % Dominantna boja: Bež, grao maslina zelena Model: Veličina: 40 Dimenzije: Ukupna dužina: 60 cm Rukav ranglan: 46 cm Obim prsa ispod pazuha: 96 cm Izrez oko vrata: dubina 33 cm Detaljno stanje: Džemper je štrikan od kožnih niti, ali nikad nije obučen, tako da je ostao neiskorišćen i zato je i postavljen na portal za prodaju. Vredan je jer je od prirodnog vlakna i stoga što je ručni rad. A posebno jer je to umetnička kreacijašto je topao i udoban odevni predmet za zimu! Opis: Džemper je ručni rad, prednjice štrikane od kožnih niti, a rukavi i leđa od od pamučnog pletiva. Štrikan je tako da bude mekan, udoban, ali takođe i estetski dopadljiv za ponos.

Par africkih skulptura muskarac i zena od kamena dimenzija po komadu 11x7x5cm vrlo dobro ocuvane.

Nova rolka sa etiketom oversize u plavoj boji. Moze se nositi kao rolka, tunika i kao haljina. Sastav: 78% AKR, 15% PES, 7% PBT, topla i prijatna na dodir. Naslovna slika je sa neta zbog modela.

Madeleine Veoma skupi kvalitetan brend sto se mozete uveriti i na njihovom sajtu Dzemper je u odlicnom stanju, obucen mozda 1-2 puta. A cena je duplo manja nego u prodavnici ☺️ Naznacena velicina D44-46 (odgovara L-XL, veoma je rastegljiv sa cak 35% elastina) 65% viskoza, 35% elastin Duzina 68 cm Poluobim od pazuha do pazuha 54 cm Duzina rukava 58 cm Sve sto Vas zanima pitajte

Topao dzemper sa trakama za vezivanje. Sastav: 70% vuna, 30% akril Dimenzije: -duzina 82cm -duzina rukava 64cm -duzina unutrasnjeg rukava 49cm -sirina ramena 44cm - mereno od sava do sava na ledjima -sirina grudi-pazuh 48cm-mereno od sava do sava na ledjima Mereno na ravnoj povrsini bez istezanja

Prodajem potpuno novu, nekorišćenu kardigan jaknicu brenda MARX, veličine S , kupljena u Sportini, ali nikada nije obučena, stoji u ormanu, pa sam rešila da je prodam. Boja -tamno siva, sa srebrnim paspulom uz rajsferslus. Materijal : 100% pamuk Dimenzije: ramena: 40cm pazuh: 45cm dužina : 55cm rukavi : 60cm Redovna cena je bila 4999din

Pončo crne boje sa krupnim crvenim cvetovima, jako atraktivan i upadljiv komad. Prakticno free size, ali po meni najbolje za s, jači xs i slabiji m. Nikad nosen - nov je

Džemper rolka duzi kao tunika , bež noje, cvetni dezen, potpuno rupičast, providan. Nikad nosen, nov. M velicina.

Ljubičasti džemper (boja šljive), rađen ručnim radom, motiv ravnog pletenja, vrlo je topao i pun. Dužina rukava je 56cm, dužina džempera je 58 cm, obim grudi je 100cm. Džemper se rasteže i u širinu i dužinu, pošto je takva vunica. Rađena je vunicom `Alize` koja je 100% poliester. Zakopčava se sa 6 malih dugmića. Odličan je za hladne dane, može poslužiti i kao jaknica u proleće.

buzdovan, topuz 5,6 x 1,3 cm bronza samo srbija ovaj predmet ne saljem u inostranstvo serbia only I do not send this item abroad Prošle izložbe (Muzej Africke umetnosti) 16. februar 2011. - 20. avgust 2011. AUTOR IZLOŽBE I KATALOGA Marija Ličina, kustos MAU Na izložbi je prikazano više od 500 tegova za merenje zlatnog praha iz zbirke Muzeja afričke umetnosti, preko 200 tegova iz zbirke Slovenskog etnografskog muzeja u Ljubljani, primeri iz privatnih kolekcija. Pored tegova, izložba uključuje i prateće predmete kao što su vage, kutije i kašike za zlatni prah. Tegovi naroda Akan jedinstveni su u svetu po svojim oblicima - predstavljaju ljude (ratnike, vračeve, lovce...), životinje (ptice,krokodili, antilope...), biljke (kikiriki, cvetove palmi, patlidžane...), predmete (bubnjeve, sandale, topove...), i brojne druge figurativne i geometrijske motive. Koliko privlače svojim oblicima, kao umetničke forme u bronzi, dimenzija od tek nekoliko santimentara, akanski tegovi jednako su značajni kao svedočanstva o prirodnom bogatstvu zlata u Zapadnoj Africi. Njima je meren zlatni prah, koji je imao ulogu novca u Gani i Obali Slonovače kod naroda Akan od 15. sve do kraja 19. veka, u svakodnevnim aktivnostima - na tržnicama, u kraljevskim trezorima zlata i za naplate državnih taksi i poreza. Izložba „Tegovi za merenje zlatnog praha naroda Akan“, autorke Marije Ličine, predstavila je značaj koji su u globalnoj istoriji imali bogata nalazišta zlata, trgovinski i kulturni kontakti na prostoru Zapadne Afrike. Kroz izložbu, posetioci uče o prometu zlata od afričke obale Mediterana do Gvinejskog zaliva (u periodu od 10. do 19. veka), pustinjskim karavanima i evropskim flotama u pohodu ka akanskim zlatonosnim poljima, o običajima cenkanja do „poslednjeg zrna zlata“, boji plamena za tegove-skulpture u bronzi i drugim temama vezanim za istoriju i kulturu naroda Akan. Izuzetnost zbirke tegova Muzeja afričke umetnosti u Beogradu, sa više od 500 originalnih predmeta, kao i zbirka Slovenskog etnografskog muzeja sa više od 200 tegova koji su po prvi put biti predstavljeni javnosti, poslužili su kao polazište za obradu nekoliko temata: AFRIČKO ZLATO U STAROM SVETU transsaharska trgovina zlatom, od 10. do 16. veka ZLATNI PRAH KAO NOVAC I JEDINICE TEŽINE: proizvodnja i promet zlata u „zlatnim kraljevstvima“ Gane, od 15. do 19. veka; kulturni kontakti i razmena između afričkih, arapskih i evropskih civilizacija AMBLEMI TRADICIJE I DRUŠTVENIH VREDNOSTI motivi tegova kao ilustracije poslovica i izreka POUKE NA TEGOVIMA ZA MERENJE ZLATNOG PRAHA Kao i oblici, i značenja koja su tegovi-skulpture imali različita su: mnogi asociraju mudre pouke iz poslovica i narodnih priča, čuvaju sećanja na bitke, mitove i legende, ili predstavljaju određene simbole. Navodimo neke od akanskih poslovica: Lud je onaj ko puši i nosi bačvu sa barutom na glavi! Između ključa i brave, jedan je stariji - mora postojati vođa, čak i među jednakima. Ne treba ti veliki štap da slomiješ petlu vrat - kaže se za moćnog čoveka koji nepotrebno zlostavlja siromašnog i nezaštićenog. Snaga palmovog drveta je u njegovim granama - kraljeva moć leži u broju njegovih podanika. ---- ovaj teg nije bio na izlozbi u MAU ----- ---------------------------------------- Akan goldweights, (locally known as mrammou), are weights made of brass used as a measuring system by the Akan people of West Africa, particularly for wei and fair-trade arrangements with one another. The status of a man increased significantly if he owned a complete set of weights. Complete small sets of weights were gifts to newly wedded men. This insured that he would be able to enter the merchant trade respectably and successfully. Beyond their practical application, the weights are miniature representations of West African culture items such as adinkra symbols, plants, animals and people. Stylistic studies of goldweights can provide relative dates into the two broad early and late periods. The Early period is thought to have been from about 1400–1720 AD, with some overlap with the Late period, 1700-1900 AD. There is a distinct difference between the Early and Late periods. Geometric weights are the oldest forms, dating from 1400 AD onwards while figurative weights, those made in the image of people, animals, building etc., first appear around 1600 AD. Radiocarbon dating, a standard and accurate method in many disciplines, cannot be used to date the weights, as it is an inorganic material. The base components of inorganic materials, such as metals, formed long before the manufacturing of the artifact.The copper and zinc used to make the alloy are exponentially older than the artifact itself. Studies on the quality or origins of the base metals in brass are not very useful due to the broad distribution and recycling of the material. Studying the weight`s cultural background or provenance is an accurate method of dating the weights. Historical records accompanying the weight describing the people to whom it belonged to, as well as a comparative study of the weights and oral and artistic traditions of neighbouring communities should be part of studying the background and provenance of the weights. Scholars use the weights, and the oral traditions behind the weights, to understand aspects of Akan culture that otherwise may have been lost. The weights represent stories, riddles, and code of conducts that helped guide Akan peoples in the ways they live their lives. Central to Akan culture is the concern for equality and justice; it is rich in oral histories on this subject. Many weights symbolize significant and well-known stories. The weights were part of the Akan`s cultural reinforcement, expressing personal behaviour codes, beliefs, and values in a medium that was assembled by many people. Anthony Appiah describes[2] how his mother, who collected goldweights, was visited by Muslim Hausa traders from the north. The goldweights they brought were `sold by people who had no use for them any more, now that paper and coin had replaced gold-dust as currency. And as she collected them, she heard more and more of the folklore that went with them; the proverbs that every figurative gold-weight elicited; the folk-tales, Ananseasem, that the proverbs evoked.` Appiah also heard these Ananseasem, Anansi stories, from his father, and writes: `Between his stories and the cultural messages that came with the gold-weights, we gathered the sort of sense of a cultural tradition that comes from growing up in it. For us it was not Asante tradition but the webwork of our lives.` There are a number of parallels between Akan goldweights and the seals used in Harappa. Both artifacts stabilized and secured regional and local trade between peoples, while they took on further meaning beyond their practical uses. Shields are symbols of bravery, stamina, or a glorious deed, though not necessarily in battle. Double-edged swords symbolize a joint rule between female and male, rather than implying violence or rule with fear. The naming of the weights is incredibly complex, as a complete list of Akan weights had more than sixty values, and each set had a local name that varied regionally. There are, from studies done by Garrard, twelve weight-name lists from Ghana and the Ivory Coast. Some estimate that there are 3 million goldweights in existence. Simon Fraser University has a small collection, consisting mostly of geometric style weights, with a number of human figurative weights. Both types are pictured here and come from the SFU Museum of Archaeology and Ethnography. Many of the largest museums of in the US and Europe have sizable collections of goldweights. The National Museum of Ghana, the Musée des Civilisations de Côte d`Ivoire in Abidjan, Derby Museum and smaller museums in Mali all have collections of weights with a range of dates. Private collections have amassed a wide range of weights as well. In the past, each weight was meticulously carved, then cast using the ancient technique of lost wax. As the Akan culture moved away from using gold as the basis of their economy, the weights lost their cultural day-to-day use and some of their significance. Their popularity with tourists has created a market that the locals fill with mass-produced weights. These modern reproductions of the weights have become a tourist favorite. Rather than the simple but artistic facial features of the anthropomorphic weights or the clean, smooth lines of the geomorphic weights, modern weights are unrefined and mass-produced look. The strong oral tradition of the Akan is not included in the creation of the weights; however, this does not seem to lessen their popularity. The skill involved in casting weights was enormous; as most weights were less than 2½ ounces and their exact mass was meticulously measured. They were a standard of measure to be used in trade, and had to be accurate. The goldsmith, or adwumfo, would make adjustments if the casting weighed too much or too little. Even the most beautiful, figurative weights had limbs and horns removed, or edges filed down until it met the closest weight equivalent. Weights that were not heavy enough would have small lead rings or glass beads attached to bring up the weight to the desired standard. There are far more weights without modifications than not, speaking to the talent of the goldsmiths. Most weights were within 3% of their theoretical value; this variance is similar to those of European nest weights from the same time. Early weights display bold, but simple, artistic designs. Later weights developed into beautiful works of art with fine details. However, by the 1890s (Late Period) the quality of both design and material was very poor, and the abandonment of the weights quickly followed. Tim Garrard (April 28, 1943 – May 17, 2007) studied the Akan gold culture. His research was centered on goldweights and their cultural significances and purposes. He was also interested in the gold trade, the creation of the weight measurements, and how Akan trade networks operated with other networks. His works and those that use his work as a base are very informative about broader Akan culture. The weights pictured here are part of the collection at the SFU museum. Donated to the museum in the late 1970s, they are part of a wide collection of African cultural pieces.

Džemper je slabo nošen.

RUCNI RAD,CVRSTA STAVLJENA KOZA,ZA PROSECNU LJUDSKU GLAVU

Rucni rad od lima ima i masineriju koja je prenvijena..verovatno muzicka,a moguce jei za pokretanje tockova...medjutim ne mogu ustanoviti

Rucni rad od lima

Kvalitetan zenski dzemper-kardigan,nezno roze boje izradjen u tehnologiji STRETCH COTTON. Sacuvan je i poseduje rezervo dugme na unutrasnjoj etiketi. Dimenzije: -ramena 40cm -duzina 56cm -duzina rukava 59cm -duzina unutrasnjeg rukava 47cm -sirina grudi 48cm

Figura mesing, visina 28cm, masa 1.1kg

♫ ♪ ♫ LIU JO svertlucava bluza NOVO Sirina ramena nedefinisana, duzina unutrasnjeg sava rukava / od ispod pazuha do ruba rukava/ 30 cm, poluobim od sava do sava ispod pazuha je 83 cm, duzina sava od pazuha do ruba artikla je 32 cm, duzina ledja 61 cm. Za sve dodatne informacije Vam stojim na raspolaganju. ❤ Postovani, medju mojim artiklima uglavnom cete naci visoko pozicionirane svetske brendove i uglavnom su to artikli prirodnih materijala/ pamuk, svila, viskoza, lan, vuna/kasmir/ ili visoko kvalitetnih drugih sastava. Izvolite pogledajte i zelim Vam svaki dan od srca nasmejan ❤

Original Pink Victoria `s secret zuti dux jakna sa rajsfeslusom sa kapuljacom. S velicina, moze i M. Na ledjima interesantna.. fazonska.

Izuzetna Maska ručni rad - GALEONE - iz Venecije. Ima sertifikat Dimenzije visina 26 cm, širina 20 cm Bez oštećenja. Stanje kao na slici Lična kupovina u centru BG-a, ili posle uplate šaljem kurirskom službom.

♫ ♪ ♫ COS bluza/ džemper NOVO Sirina ramena 44 cm, duzina unutrasnjeg sava rukava / od ispod pazuha do ruba rukava/ 12 cm, duzina rukava od ramena 25 cm, poluobim od sava do sava ispod pazuha je 49 cm, duzina sava od pazuha do ruba artikla je 29 cm, duzina ledja 55 cm. Nijanse arikla se najbolje uočavaju na poslednjoj fotografiji, ima štras u sastavu. Za sve dodatne informacije Vam stojim na raspolaganju. ❤ Postovani, medju mojim artiklima uglavnom cete naci visoko pozicionirane svetske brendove i uglavnom su to artikli prirodnih materijala/ pamuk, svila, viskoza, lan, vuna/kasmir/ ili visoko kvalitetnih drugih sastava. Izvolite pogledajte i zelim Vam svaki dan od srca nasmejan ❤

ALBERTA FERRETTI kardigan S/M Sirina ramena 38 cm, , poluobim od sava do sava ispod pazuha je 53 cm, duzina sava od pazuha do ruba artikla je 82 cm, duzina ledja 105 cm. Skinuta etiketa sa deklaracijom. Za sve dodatne informacije Vam stojim na raspolaganju. ❤ Postovani, medju mojim artiklima uglavnom cete naci visoko pozicionirane svetske brendove i uglavnom su to artikli prirodnih materijala/ pamuk, svila, viskoza, lan, vuna/kasmir/ ili visoko kvalitetnih drugih sastava. Izvolite pogledajte i zelim Vam svaki dan od srca nasmejan ❤

GUESS ROLKA -DZEMPER ,Original (ima sve etikete sastav, kod),moze se nositi na vise nacina (kao velika oversize rolka ili pitpuno otkopcana..)materijal odlican( rayon ,spandex) ,rastegljiv, puniji..Obucena jednom ,stanje savrseno ,kao nova! Velicina M Duzina 65cm Od pazuha do pazuha 40