lepa vazna u murano tehnici....

figura narodne nosnje madjarske...

suvenir iz egipta

suvenir afrika teze drvo..

Figura suvenir iz afrike..

Dimenzije skulpture su 20x10x6,5 cm.

tri poznata lika ...

Anonimus maska za decu, Vendetta V. Kom. 1 Zapakovano u kesi. Imamo i: Nekorišćena maska, u originalnoj ambalaži, bez kese, ali ima deklaraciju - 600 din (kod mene na Kupindu)! Pitajte! Šaljem i kao CC, zbog povoljnije poštarine.

Figura od alabastera oko 21 cm

Petao,Italy,3cm

Balsa Rajcevic Rane, 2009 11 x 10 x 10 cm originalna skulptura reprodukovnaa u katalogu Novi vlasnik ce dobiti reprezentativan jpeg image u punoj rezoluciji gde autor drzi ovu skulpturu u rukama kao dokaz autenticnosti.

Vajarski rad `Tijana Dujović-Liščević`,u originalnoj kutiji. Rođena 02.12.1964. godine. Srednju školu, odsjek dizajn, završila u Titogradu. Diplomirala na Višoj primenjenoj školi u Beogradu 1985. godine, a 1990. na Fakultetu primenjenih umetnosti i dizajna u Beogradu na Odseku keramike, predmet unikatna keramika u klasi prof. Mirjane Isaković. Godine 1990. upisala postdiplomske studije. Član ULUPUDS-a postala 1990. Član ULUS-a postala 1998, a ULUCG-a 1999. godine. Imala je više samostalnih i grupnih izložbi u zemlji i inostranstvu. Dobitnik je značajnih nagrada. Tijana Dujović Liščević diplomirala je na Fakultetu primijenjenih umjetnosti i dizajna u Beogradu, na odsjeku unikatna keramika, u klasi prof. Mirjane Isaković 1990. godine. Bila je korisnik stipendije grčke vlade Atina, 1991. godine. Magistrirala je na FLU Cetinje – odsjek vajarstvo u klasi prof. Milivoja Babovića 2014. godine. Član je ULUCG-a. Samostalne izlozbe : 1988. Budva, Crna Gora 1988. Muzej grada Sarajeva, Sarajevo, BiH 1993. Kulturni centar Atina, Atina, Grčka 1996. Galerija savremene umjetnosti, Podgorica, Crna Gora 1996. Zemun, Beograd, Srbija 1997. Herceg Novi, Crna Gora 1999. Galerija kulturni centar Beograd, Srbija 2000. Centar savremene umjetnosti, Podgorica 2000. Galerija “Crvena komuna”, Petrovac 2000. Kotor, kulturni centar 2008. Blues bar, Podgorica 2009. Galerija Centar savremene umjetnosti, Podgorica 2009. Moderna galerija, Budva 2013. Galerija Luča – Noć kulture, Herceg Novi 2015. Galerija Buća –Tivat 2015. Muzeji grada Podgorice Nagrade : 1990. Nagrada fonda Ivan Tabaković 1990. Plaketa ULUPUDS-a za najuspjeliji diplomski rad 1996. Otkupna nagrada Muzeja primijenjenih umjetnosti na 28. Majskom salonu umjetnosti 1997. Plaketa ULUPUDS-a na 38. Oktobarskom salonu 1997. Godišnja nagrada ULUPUDS-a 1997. Počasna diploma na 5. bijenalu umjetničke keramike – AVEIRO ’97. 1998. Laureat 5. Beogradske mini-art scene 1999. Otkupna nagrada Muzeja primijenjenih umjetnosti na 40. Oktobarskom salonu 1999 Plaketa ULUPUDS-a na 40.Oktobarskom salonu 2000. Godišnja nagrada ULUPUDS-a 2000. Prva nagrada na 6. Međunarodnom bijenalu minijature, Gornji Milanovac 2003. Plaketa ULUPUDS-a na 11. trijenalu savremene umjetničke keramike 2007. Prva nagrada za skulpturu na izložbi Savremena crnogorska skulptura, Danilovgrad 2007. Nagrada na 11. Decembarskom salonu, Podgorica 2014. Prva nagrada na 47. Hercegnovskom zimskom salonu 2015 .Nagrada na 37. Crnogorskom likovnom salonu, 13. novembar, Cetinje Važnije međunarodne izložbe: 1990. Zagreb III Svetski trijenale male keramike 1991. Grotaglia- Italija, 1. Bijenale internacionalne keramike 1993/95. 1997/99. Aveiro, Portugalija 3-6 Internacionalni bijenale keramike 1999. Faenza- Italia, 51. Concorso internazionle di ceramica contemporanea 2002. Atina- Grčka, IAC Conference, Balkanska savremena keramika 2004. Kina- Savremene tendencije u keramici 2004. Australija – Savremena srpska keramika 2007. Zagreb – Svjetska izložba male i minijaturne keramike 2009..Beograd – 13.Trijenale keramike 2010. Gornji Milanovac – 10. Međunarodni bijenale umetnosti minijature 2011.Austrija –Kapfenberg – 7. Internacionalno bijenale keramike 2011.Majdanpek-Srbija – 2.Međunarodna izlozba Umjetnost u minijaturi 2012.Gornji Milanovac – 11.Međunarodni bijenale umetnosti minijature 2014.Gornji Milanovac – 12. Međunarodni bijenale umetnosti minijature Born in December 02, 1964. She graduated from the High School, design department in Titograd. Graduated from the College of applied art in Belgrade in 1985, and graduated from the Faculty of applied art and design in Belgrade, Department of ceramics, subject unique ceramics in the class of Prof. Mirjana Isakovic in 1990. In 1990 she enrolled the graduate school. She became a member of ULUPUDS in 1990. She became a member of ULUS in 1998, and of ULUCG in 1999. She had several individual and group exhibitions in country and abroad. She received significant awards.

Skulptura od gipsa Patrijarha Pavla/na pojedinim mestima ostecenje(videti slike).Velicina skulpture 46cm,postolje 13cm×16cm.Na ivicama postolja napisano Patrijarh Pavle/Budimo ljudi.

Ajme . Njegoš Petar Petrović ... darova mu šta - Lunu ka jabuku ... Nepoznat autor, legura aluminijuma, stari rad bez potpisa autora, početak XX veka, 12,7 x 9,3 cm oval ima rupu za kačenje, pretpostavlja se da je autor napravio jer je vrlo precizno probušena

Drvena lutka model za umetnike Visina 33cm Bez ostecenja

BISTA DIMENZIJA 23 X 23 CM NA CRVENOJ ČOJI U RAMU DIMENZIJA 26 X 46 CM MALO OKRNJENA IVICA DESNOG BRKA, NA NEKOLIKO MESTA TRAGOVI STAJANJA. NA PLAKETI ISPOD UPISAN CITAT POSVEĆEN PRAHU OCA SRBIJE (KARAĐORĐE) BLAGO TOME KO DOVEK ŽIVI, IMAO SA RAŠTA I RODITI KAO NA SLIKAMA

lepa figurica murano kobaltno plavo za neku namenu.ukras vis blizu30cm

Skulptura naivna umetnost naivni umetnik skulptor vajar Josip Bicanic (1928-2002) član Hrvatskog društva naivnih umjetnika.Figura rezbarena u drvetu dimenzija 30x12x10cm potpisana iz 1975 godine vrlo dobro ocuvana.

Olimpiske Igre Moskva 1980 keramicka skulptura maskota medved Misa figura je dimenzija 16x8cm vrlo dobro ocuvana.

keramicka figure oko 17 cm visine

Devojka sa kisobranom vis oko 17 cm

keramicki svecnjak u obliku cveta sir oko 10cm

Skulptura naivna umetnost naivni umetnik skulptor vajar slikar Stjepan Janžek iz Krapine Hrvatsko Zagorje. Figura rezbarena u drvetu dimenzija 35x9x8cm potpisana vrlo dobro ocuvana.

Gipsani odlivak. sa malim ostecenjima....

1,6 x 1 x 0,5 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.