rucni rad bez potpisa oko 20cm

suvenir iz afrike visine oko 95 cm lako drvo..

odlivak u tvrdoj plastici jedan ugao ostecen...

RETKO,RUCNI RAD,DIMENZIJE 40 X 15 CM

Odlicna figura, pogledajte pa procenite sami...

Stara drvena skulptura glava rezbarena u rusticnom supljem panju nepravilne forme dimenzija 40x20x15cm vrlo dobro ocuvana.

Lepo uradjena figura strazara koji je palio lampione i obavestavao stanovnistvo o dogadjajima u varosi u srednjem veku.Figura visine 40 cm bez ovog oruzja

Čovek koji kleči, 9 cm- terakota.

Drvena skulptura koja prikazuje Aboridžina sa tradicionalnim oružjem, kopljem i štitom. Izuzetan ručni rad, sa potpisom autora u donjem levom uglu. Visine je 43 cm, širine 13 cm. Očuvano, stanje kao na slikama.

Period nepoznat, vidi se da je rad ozbiljnog umetnika, materijal EBON, dimenzije - visina 19.5 cm - sirina 9.5 cm

RUCNI RAD,NE ZNAM KOJI MATERJAL,DIMENZIJE 46 CM X 32 CM,STANJE KAO NA SLICI

UNICEF japanski tanjir ukrasna keramika/ porcelan Radjeno za proslavu / specijalan poklon u Heinrich villeroy W. Germany Precnik 22 cm . Retko

Afrička umetnost - duborez u kvalitetnom drvetu, ručni rad. Veoma lep dekorativni predmet sa motivom svakodnevnog života Afrikanki. Visine je 50 cm, širine 18 cm, debljine drveta 2,5 cm, i težine 800 gr. Očuvano, stanje kao na slikama.

Stara umetnička, livena figura - skulptura na isklesanom kamenu . Nisam siguran o kom je kamenu reč. Prelep kolekcionarski komad. Signirana potpisom na dva mesta, pogledati fotografiju. Očuvana kao da je nova bez ikakvih oštećenja. Figura je pokretljiva u smeru gore - dole i u krug, montirana, ušrafljivanjem na pokretni zglobo koji je usađen u kamem. Pogledati fotografiju. Jednom rečju: prava stilska, umetnička i kolekcionarska figura. Dimenzije: 15 X 12 X 9 cm. Težina: 710 gr. dosta teška. Uživo je, u svakom pogledu neuporedvio lepša nego na fotografijama. Pre kupovine i bez ikakvih obaveza možete pogledati predmet uživo i na licu mesta dovoljno je samo Kupindo-Limudo porukom da me o tome obavestiti.. Pogledajte fotografije i pitajte me pre kupovine ukoliko imate bilo kakvih pitanja. Moje ostale oglase možete pogledati preko sledećeg linka: http://www.kupindo.com/Clan/dragov/SpisakPredmeta Pročitajte još i odeljak *uslovi prodaje* imate mnoge pogodnosti. 7.

Stara drvena skulptura rezbarena u maniru naivne umetnosti potpisana sa B. Ignjat iz 91 godine dimenzija 21x15x13cm vrlo dobro ocuvana.

Dia de los Muertos odnosno Dan mrtvih, slavi se u Meksiku početkom novembra meseca. Ovaj praznik okuplja čitave porodice kako bi odale počast preminulim članovima i prijateljima. I obično je u pitanju veselje. Najčešći motiv je La Calavera tj. ljudska lobanja. Ove dve figure su napravljene od stiropora i poliuretanske pene (pur pena) i verovatno su služile kao ukras u nekom ugostiteljskom objektu. Veća je visine 190cm, manja 80cm i jako dobro su očuvane. Imaju par sitnih oštećenja, ali je struktura netaknuta. Dve jako zabavne dekorativne figure, pogodne za tematski kafic ili, jos bolje, tequila bar. Preuzimanje isključivo lično, previše su krhke da bi putovale kurirskim službama.

Kamena rezbarena figura ptica sova skulptura dimenzija 10x5x4cm vrlo dobro ocuvana.

odlivak aluminijski ofarbano u mesig 25 cm visine

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.

Raskošni gornji deo kostima za maskenbal, filmsku industriju ili pozorište. Materijal je pun, bogatog izgleda, u osnovi svetlucave bordo boje, a napred je izvezen debelim zlatnim koncem i perlicama od štrasa. Pri dnu leđa je upertlan i vezuje se radi zatezanja struka. Kroj je zanimljiv, nesvakidašanj i elegantan, sa jednom bretelom, a dole ukoso sečen. Dužina 42/47cm širina u grudima 47cm struk podesiv