Kao nov. Gornja etiketa sa velicinom je skinuta. Odgovara S/M. Sastav materijala: 55% viskoza, 35% poliamud, 10% vuna. Dimenzije: - sirina od pazuha do azuha 46 cm - duzina rukava od okovratnika 70 cm - duzina 55 cm crni dzemper

POLOVAN ŽENSKI DŽEMPER VEL.S `ANNI FOLLI` BOJA JE VIŠE SIVA ALI IMA NEKU PLAVU NIJANSU DIMENZIJE SU SLEDEĆE: -ŠIRINA ISPOD PAZUHA 54CM -DUŽINA RUKAVA OD RAMENA 44CM -DUŽINA DŽEMPERA JE OKO 69CM Pogledajte moju ponudu na kupindu: http://www.kupindo.com/Clan/durlanac2929/SpisakPredmeta Pogledajte moju ponudu na limundu: http://www.limundo.com/Clan/durlanac2929/SpisakAukcija

nov duks marke strip ramena 36cm ispod pazuha 43cm rukavi 60cm duzina duksa 65cm

GianFranco Ferre duks ORIGINAL vel. XL/XXL Sirina ramena 46 cm Sirina pazuha 55 cm Duzina rukava 65 cm Duzina 74 cm Moze i za zene i za muskarce ...

Tommy Hilfiger dzemperic Boja: siva Uzak model Nije nov 100%pamuk Logo vidljiv u donjem levom uglu Ramena 32-38 Poluobim grudi 38-45 Duzina 51

Rastegljiv, odlično očuvan, kao nov. Mere: Dužina 61 cm Pazuh 43 cm Rukav 63 cm

Ograničena ponuda - Vinčanska pločica `Život je ljubav` u luksuznoj drvenoj kutiji, na postavi od pliša, sa staklenim poklopcem i `nogicama` koje služe da ona sigurno stoji na vašoj polici ili stolu. Izuzetan poklon. Kada nekome želite da prenesete iskonsku mudrost naših predaka, učinite to ovom jednostavnom porukom. Naselje Vinča nadomak Beograda, smatra se kolevkom evropske civilizacije. Pločica sa natpisom `ŽIVOT JE LjUBAV` je za sada najstarija pronađena celovita poruka ispisana Vinčanskim pismom koje datira čak 5500 godina pre nove ere. Pronađena je na parčetu keramike poznatom kao `Vatinski pršljenak` Autor ovog prikaza je vajar Jovan Petronijević. Dimenzije kutije su 32cmx23cmx6cm, dok je sama pločica dimenzija 23x12cm Pogledajte celokupnu našu ponudu inspirisanu srpskom, slovenskom (i pomalo vikinškom i keltskom) mitologijom https://www.kupindo.com/Clan/ROD-suveniri/SpisakPredmeta

Prelep i jako topao džemper-rolka od vune. Obučen par puta. U odličnom stanju.

Stara africka skulptura zena rezbarena u drvetu ebonovina velika masivna i lepa dimenzija 41x9cm vrlo dobro ocuvana.

NE ZNAM BROJ VIDETI MERE. Ceo je na cibzar. Ocuvan jedino ima jednu tackicu jako malu flekicu skroz dole ali se skoro ni ne vidi. Sigurno ce se skinuti pranjem, nemm vremena. Duzina 89 cm ramena 45 cm-52 cm rukavi 55 cm ali mozda seceni deo od ramena pada preko ruku pa su duzi. od paz, do pazuha 45 cm-53 cm poluobim struka 41 cm-49 cm IMATE MOGUCNOST KU[I ODMAH......................

Nenosen bez etikete. - sirina od pazuha do pazuha 41-51 cm - duzina 53 cm

mekani udobni dzemper , velicine 40 45% viskoza---30% poliamid--25% pamuk

Sivi topli dugi dzemperic sa malim dzepicima dug rukav kao tunika

dama nosi vodu ...

Dzemper protkan zlatnim nitima i ukrasen masnicama dimenzije duzina 70cm obim od 70 do 84cm rukavi 46cm

Kardigan Italy 46 mesavina ,ocecena etiketa po mojoj proceni vuna,poliester tanak sirina ramena 47 grudi 63 duzina ledja 75

sivi lagan,velicina i sastav /odsecene etikete/,odokativno 38-40,cini mi se da je tanka vuna

DESIGUAL DZEMPERAK.

Bež pončo, malo nošen, bez oštećenja, izuzetan.

dzemper MEXX 38 Moderan izuzetno kvalitetan dzemper original kupljen u Italiji.Sirina ramena 38 duzina rukava 63 sirina grudi 50 duzina ledja 57 pamuk

Raskošni gornji deo kostima za filmsku industriju, pozorište, maskenbal. Bakarne boje, a materijal je sve svetliji prema dnu. Fantastičan, unikatan komad. Napred je komplet urađen bogatim vezom od debelog konca, sa perlicama od štrasa. Na leđima se vezuje, što njegovu veličinu čini univerzalnom. Postavljen lanom, a u osnovi je saten. Dužina 60cm ramena 40cm širina u grudima 47cm struk podesiv

1,4 x 1,2 x 0,3 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.

Vel.S,36/38, pazuh 46-47cm, duzina rukav+ramena 714cm, duzina 60cm, ramena 40cm

visina 46cm težina 3,2kg

Dzemper tunika sa dubokim V izrezom. Rukavi su uski. Materijal je kvalitetan, 100% viskoza. Velicina 40, moze i za 36/38. Stanje odlicno, kao nov. Dimenzije: - sirina ramena 38 cm - sirina od pazuha do pazuha sa ledjne strane 40 cm - duzina 60 cm