X-MEN - Battle Blasters Omega - Toy Biz - Marvel - 1994 godina .

Originalni jugoslovenski filmski plakat (69 x 48 cm) za film Ono Je Jace Od Mene (1960). Stanje kao na fotografijama. Love in Rome Un amore a Roma Mylène Demongeot Elsa Martinelli Peter Baldwin Jugoslavija Ex Yu

Lok stkl Original Meni iz Ledenog doba , sa etiketom , godina 2013 dimenzije 23 x 13 cm

LETAČKI ZNAK ZA KOMBINEZON PILOTA VOJSKE SRBIJE SKINUT SA PILOTSKE FAJERKE. TKANA VARIJANTA, DIMENZIJE PRIBLIŽNO: 70 X 40 mm. STANJE KAO NA FOTOGRAFIJI PO MENI ODLIČNO OČUVAN. ZA DODATNA PITANJA KORISTITE KUPINDO PORUKE. 0476/2021

LETAČKI ZNAK ZA KOMBINEZON PILOTA VOJSKE SRBIJE - 7 SA ZADNJE STRANE JE ČIČAK ZA KAČENJE NA KOMBINEZON. VEZEN, DIMENZIJE PRIBLIŽNO: 70 X 45 mm. STANJE KAO NA FOTOGRAFIJI PO MENI ODLICNO OCUVAN. ZA DODATNA PITANJA KORISTITE KUPINDO PORUKE. 0592/2021

LETAČKI ZNAK ZA KOMBINEZON PILOTA VOJSKE SRBIJE - 6 SA ZADNJE STRANE JE ČIČAK ZA KAČENJE NA KOMBINEZON. VEZEN, DIMENZIJE PRIBLIŽNO: 85 X 40 mm. STANJE KAO NA FOTOGRAFIJI PO MENI ODLICNO OCUVAN. ZA DODATNA PITANJA KORISTITE KUPINDO PORUKE. 0591/2021

Stara metalna futrola za naočare bez naušica, svojevremeno nošene naočare za čitanje ili pozorište, dimenzije futrole ~11.5 x 4.4 x 1.6cm, tragovi korišćenja i starosti su prisutni, stanje je kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

CUBA - kožna futrola-tuba za tompus, u svetlo braon boji, dimenzije ~20 x 2.8cm, u tubu staju tompusi do max. prečnika 19mm, za svoje godine dobro očuvana, stanje kao na slikama . . . Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca !

Stara `kožna` višenamenska futrola, u bordo boji, polopac oivičen metalnom lajsnom sa utisnutom etno gravurom, otvara/zatvara se rajsfesšlusom, dimenzije ~10.7 x 7.6 x 4.7cm, unutar futrole je dodatna prostirka sa kožnom mašnicom, dobro očuvana u stanju kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

Minijaturno metalno kandilo, bez ikakvih drugih delova, za svoje godine solidno očuvano, veličina samok kandila je ~4 x 3.8cm, otvor za posudu je ~2.3cm, u visećem položaju visina je ~8.2cm, stanje kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

Stara kožna kutija u crnoj boji, otvara se na dugmence i kad se ozvori ivice su ojačane metalnim okvirima, dimenzije ~10.2 x 10.2 x 4cm, unutrašnjost takođe presvučena kožom i može imati različite namene : za nakit, za cigarete itd, dobro očuvana sa ispravnim mehanizmom za otvaranje/zatvaranje, stanje kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

Stara metalna futrola za naočare, spolja i unutra presvučena, svojevremeno nošene naočare za čitanje ili pozorište, dimenzije futrole ~13 x 5.5 x 1.9cm, ispod poklopca je vidan natpis : `LLOYD E. OAKS, M.D.-Twin Falls, Idaho`, solidno očuvana ali su tragovi korišćenja i starosti ipak prisutni, stanje je kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

48 x 68 cm 2 x presavijen movie poster, AFFICHE de FILM The Land That Time Forgot is a 1975 British-American fantasy/adventure film based upon the 1918 novel The Land That Time Forgot by Edgar Rice Burroughs. The screenplay was written by Michael Moorcock and James Cawthorn and directed by Kevin Connor. The cast included Doug McClure, John McEnery, Keith Barron, Susan Penhaligon, Anthony Ainley and Declan Mulholland. The movie begins with a bottle with a written manuscript inside it being thrown into the sea, hoping for it to be discovered later. Floating to the coast of England, a sailor discovers the bottle and opens to read the manuscript as Bowen Tyler (Doug McClure) narrates the events, much as we see in many of Edgar Rice Burroughs` novels. The story is set during World War I and involves the survivors of the sinking of a British merchant ship who are taken on board a German U-boat. Bowen Tyler and Lisa Clayton (Susan Penhaligon) are passengers on the ship torpedoed by Captain von Schoenvorts (John McEnery). Along with a few surviving British officers, Tyler convinces the other men to take over the surfacing submarine, this being their only chance for survival. After confronting the Germans on the deck, a fight ensues and they seize the German U-boat. Tyler takes command hoping to sail to a British port. Von Schoenvorts has his crew steer toward a safe sea port. But German officer Dietz (Anthony Ainley) gets loose and smashes the sub`s radio. Off course and running out of fuel in the South Atlantic, the U-boat and its crew happen across an uncharted subcontinent called Caprona, a fantastical land of lush vegetation where dinosaurs still roam, co-existing with primitive man. There are also reserves of oil which, if the Germans and British can work together, can be refined and enable their escape from the island. Tyler discovers the secret of Caprona: individuals evolve not through natural selection, but by migrating northward across the island. With the submarine working again, a sudden outbreak of volcanic eruptions occurs across the island. Dietz starts a mutiny and shoots Captain von Schoenvorts to take command. Dietz abandons Tyler and Clayton in Caprona in an attempt to escape, but the U-Boat cannot function in the boiling waters and the crew is killed as it sinks. Tyler and Clayton are stranded and being the only survivors of their group, they are forced to move northward. The movie ends with Tyler throwing the bottle, with the manuscript inside it, as seen in the beginning of the movie. Doug McClure as Bowen Tyler John McEnery as Captain Friedrich Von Schoenvorts Susan Penhaligon as Lisa Clayton Keith Barron as John Bradley Anthony Ainley as Lt. Dietz Godfrey James as Borg Bobby Parr as Ahm Declan Mulholland as Olson Colin Farrell as Whiteley Ben Howard as Benson Roy Holder as Plesser Andrew McCulloch as Sinclair Ron Pember as Jones Grahame Mallard as Deusett Andrew Lodge as Reuther Brian Hall as Schwartz Stanley McGeagh as Hiller Peter Sproule as Hindle Steve James as First Sto-Lu

48 x 68 cm 2 x presavijen movie poster, AFFICHE de FILM Count Yorga, Vampire (also known as The Loves Of Count Iorga, Vampire) is a 1970 American vampire horror film written and directed by Bob Kelljan and starring Robert Quarry, Roger Perry and Michael Murphy. It was followed by a sequel, The Return of Count Yorga. The scenario opens with narration about superstition and the abilities of vampires. A truck is loaded at the Port of Los Angeles, and as it climbs to a gated mansion in the Southern California hills, the cargo is revealed to be a coffin. Donna hosts a séance in hopes of contacting her recently deceased mother. At the party are several of her friends and Count Yorga, a mysterious Bulgarian mystic who performs the séance. Donna becomes hysterical during the proceedings, and Yorga uses hypnosis to calm her. After the party is over, Erica Landers and her boyfriend Paul offer to drive the Count home. Not long after the three leave, in the after-party conversation with friends, Donna reveals that she knows Yorga from being her mother`s boyfriend, adding that the two were dating a few weeks shortly before her death and in fact, Yorga had insisted that her mother be buried rather than cremated as she originally requested in the event of death. Yet oddly, she cannot recall seeing him at her mother`s funeral. Meanwhile, Erica and Paul drop off Yorga at his home. However, their van gets stuck in the mud outside of Yorga`s mansion, although Paul notices the road was dry a minute ago, and the two resign themselves to spend the night in their van. After making love, the two set to fall asleep. However Erica senses someone outside and looks out the window, finding Yorga who now has pale skin and barring fangs, revealing himself to be a vampire. Erica`s scream awaken Paul, but Yorga quickly knocks him out as he`s leaving the van before approaching the helpless Erica. The following day, Paul tells Michael Thompson, Donna`s boyfriend, about the attack. Paul did not see their attacker, and Erica does not remember the attack at all. Erica visits Dr. Hayes to have the mysterious bite wounds on her neck inspected. In contrast to her exuberant personality on the night before, Erica now seems despondent and listless. Hayes notices she has lost a lot of blood. Unable to diagnose the cause, he recommends rest and a high protein diet. Shortly after, Paul and Michael discuss the strange changes in Erica`s behavior. They try to check in on her via phone but she just drops the phone to the floor without answering it. The concerned men then drive to her home where they find the place in disarray, and a hysterical Erica eating her pet kitten. She reacts erratically to their presence, first threatening them with violence and then attempting to seduce Paul before coming to her senses and breaking down. They restrain her and call Dr. James Hayes, who begins an emergency blood transfusion. Erica babbles incoherently, apparently afraid of something, begging Paul to forgive her and even kill her, but when asked of what has her scared, she state she does not know, just to `Not let it happen`. Meanwhile, Yorga awakens in his manor and heads to his basement which has been converted into a throne room where his two vampiric-brides lie on slabs. One of them is shown to be Donna`s mother whom he had drained, made into an undead servant, and dug up her body after she was buried. He awakens the two and watches as they have sex, presumably using his powers of mind-control to compel them to do so. Although Michael is skeptical, the three men consider the possibility of vampirism as an excuse for Erica`s behavior and agree to look into it while letting Erica rest. That night, Yorga visits Erica while Paul sleeps downstairs. Promising her immortality, he seduces Erica, drains her of her remaining blood and takes her back to his manor. Paul, upon finding Erica missing, rashly goes to Yorga`s mansion to rescue her. Yorga easily kills him by choking him to death, then having his servant, Brudah break his back. Michael alerts Hayes that Paul has gone to the mansion, and Hayes confides that Paul`s lack of preparation will probably lead to his death. While mulling over his options, Hayes` girlfriend suggests involving the police, citing an eerily similar case of a baby being found in the woods, drained of its blood with bite wounds on the neck. He takes it to heart and calls the police, but is rejected as a deluded prankster following a recent rash of such calls. Hayes, Michael, and Donna go to the mansion themselves to inquire about Paul`s whereabouts and keep Yorga active until sunrise. While Hayes distracts Yorga with enthusiastic questions about Yorga`s occult experiments, Brudah rebuffs Michael`s attempts to explore the mansion. Michael and Hayes switch places to keep Yorga off his guard, but Yorga becomes increasingly insistent that it is late and his guests must leave. Yorga distracts Hayes and strengthens his hypnotic control over Donna. After leaving the manor, Hayes convinces Michael that killing Yorga will not be easy: vampires have greater strength and the wisdom that comes from living much longer than a `mere mortal`. He also grimly adds they might have to kill Paul and Erica too if they have become vampires, since the vampire curse will make them evil and loyal only to Yorga. They plan to attack later that afternoon in the hopes of killing Yorga in the daytime. Michael and Donna rest while Hayes studies vampire lore until he, too, falls asleep. Yorga awakens Donna telepathically and has her sabotage Michael`s alarm clock before having her come to the mansion. On her arrival, Brudah rapes her. When Michael awakens, he finds Donna gone and that it is nearly evening when he calls to awaken Hayes. Despite knowing how dangerous their chances are, they stock up on stakes and makeshift crosses before heading to Yorga`s mansion as night falls. The two split up, and Hayes is confronted by Yorga. Both drop the pretense that Yorga is anything but a vampire, and Yorga leads Hayes into his basement where his vampire-brides lie dormant. Hayes finds Erica`s body among them, finding no heartbeat or pulse when he examines her. He then attacks Yorga with cross and stake, while yelling out for Michael (who hears Hayes and begins to run in the direction of his call). Yorga is irritated by Hayes` cross and taunts the doctor as he silently commands his brides to awaken. With Hayes` back to the approaching brides and his attention fixed on Yorga, the brides attack and drain the helpless Hayes. Yorga reunites Donna with her mother. Michael finds Paul`s mutilated body while navigating the crypt. Brudah attacks him, but Michael stabs him, presumably to death. Michael manages to reach the throne room but finds Hayes as he lays dying from bite wounds and blood loss. With his last breath, Hayes tells Michael where Donna is. Just as he does, Erica, now a vampire and completely under Yorga`s control, and an unnamed, redheaded vampire charge into the room. Michael fends them off, chasing away the redhead while Erica pauses, giving Michael a chance to stake her. Despite seeing she is no longer the Erica he knows, he cannot bring himself to do so, and proceeds upstairs while she hisses at him. On the way to the staircase, Brudah emerges from the living room, holding his profusely bleeding knife wound, intent on attacking Michael. Michael, somewhat stunned that Brudah is still alive, moves up the staircase as Brudah reaches out for him. Brudah then collapses, finally dying. Upstairs, Michael confronts Yorga and Donna`s mother. Yorga pushes Donna`s mother into Michael`s stake and flees. Michael follows, and Yorga ambushes him outside the room. Michael rams the charging Yorga with his stake, killing him. Donna mourns her mother a second time before Michael collects her. He and Donna watch Yorga turn to dust. As they start to leave, they are confronted by Erica and the redheaded bride who, despite Yorga`s death, still remain as vampires. They chase Michael and Donna downstairs until repelled by Michael`s cross. As the vampire women are forced back and toward a cellar, Erica glances ominously at Donna. Michael locks them in and takes Donna`s hand, believing the danger is over. However, as he turns to leave, Donna hisses and lunges at him, fangs bared, fully transformed into a vampire; he was too late to prevent Yorga from turning her. In a final line of voice-over, the narrator sarcastically disputes that vampirism is just superstition as he laughs evilly. The film ends on a shot of Michael`s bloodied and lifeless corpse.

Ulaznica za koncert JOE SATRIANI-ja u Sava Centru u Beogradu, 24.05.2013. godine. Ovo je PONIŠTENA (otcepljen je kontrolni deo) novinarska ulaznica, za balkon, gde su bili smešteni novinari. Kolorno obostrano odštampana na glossy debljem papiru, veličine 13 x 8,3 cm. Bio je ovo jedan relativno kamerni koncert, prepun tehničke perfektnosti, ali i lišen emotivnosti, i po trajanju dosta kratak. Bilo je zanimljivo videti SVE, ali bukvalno SVE beogradske gitariste koji su došli da vide jednog od najboljih na planeti - Satch-a. Pošto u vreme koncerta odavno već nisam imao muzičke časopise, organizatori koncerata su me zaboravili, pa me je na ovaj koncert poveo Bane Lokner, moj dragi `bratić`, koji je uzeo dve karte za nas dvojicu, dugo godina `inventar` na svim rock dešavanjima u gradu. ==================================================================== ROCK MEMORABILIA - ROCK MUZEJ - PROČITAJTE !!!!!!!!!!!!!!!! Na našem tržištu, kao jedan od mnogih nedostajućih segmenata u rock industriji, nedostaje i tržište memorabilia, artifakata prošlosti (ulaznice, flajeri, plakati, originalne fotke, autogrami i sve ostalo vezano za rock muziku, bendove i muzičare). Naravno, dok neko to ne prikupi, neće biti ni otvaranja pravog rock muzeja, mada je više nas o tome maštalo. O tome koliko kod nas nije razvijena svest o važnosti prikupljanja memorabilia, svedoči i to da smo jedina zemlja gde ploča sa autogramom muzičara ima nižu, manju cenu od običnog, dobro očuvanog primerka!!! U svetu, potpisane ploče mogu biti i 1000 puta skuplje od apsolutno novog `glanc` - MINT primerka. Pratite moje oglase na Kupindu. Trudiću se da ono malo što sam sačuvao, slikam i opišem sa svim potebnim informacijama, na način kako se to opisuje u svetu. Na žalost, na hiljade ovakvih stvarčica sam pobacao tokom godina. No, nešto sam i sačuvao. Već i te informacije i fotke će biti možda nekom inspiracija da se potrudi i izloži nam svoju kolekciju ovakvih stvari, a svima vama informacija iz prve ruke, o događajima u kojima sam učestvovao na ovaj ili onaj način, ili im makar bio savremenik, pa će i ta svedočenja jednog dana biti značajna za pisanje neke istorije rock muzike u Srbiji. Posebno su u prikupljanju ove istorijske građe bitni glavni urednici rock novina poput mene. Kod nas su se u najvećoj meri `ulivale` ne samo informacije i muzička izdanja, već i propusnice za koncerte, press-passovi i mnogo, mnogo toga zanimljivog (pisma čitalaca, pisma bendova i sl.). Vreme prolazi i te stvari se gube, bivaju uništene ili bačene. Potrudiću se da ih ovde ovekovečim u e-formi, a i da nekom kolekcionaru ponudim da ih uvrsti u svoju kolekciju. Cene su pažljivo proračunate i određene, u skladu sa raritetnošću, ali i nekim opštim pravilima koja vladaju u svetu za ovakve artifakte. Nisu jeftine jer ovakvo blago nigd eu svetu nije jeftino, šta više. RAZMENA: ako imate neke ovako zanimljive stvari, javite mi se (preko Kupindo poruka, ili me nađite na FB), pa možemo da napravimo neku razmenu, za neka muzička izdanja koja ovde takođe nudim i polako ubacujem. USKORO MNOGO NOVIH ROCK MEMORABILIA!!! rokerski pozdrav, advokat Branko Rogošić nekadašnji vlasnik i glavni i odgovorni urednik (glodur) Rock Expressa, Metal Expressa, Muzičara, Metal Marketa, Rock Express Recordsa, vlasnik MORDOR shopa i Dreamworld Music Service-a i kolekcionar muzike i svega oko nje već 45 godina (od svoje 9-te)

Privezak - BLUES FEST ŠABAC, kožni tamno braon privezak sa metalno-emajliranim pokretnim delom, veličine 8,5 x 4,5 cm. U polukrugu je ispisano `Blues Brothers and Sisters Cita`, a dole - `Blues Fest Šabac`. Limitirana serija od 50-ak primeraka, napravljena 2000. godine. Ultra raritet. Dobio sam ovaj privezak od stalnog dopisnika Rock Expressa iz Šapca, velikog rokera i rock pisca (i ja sam mu objavio neke knjige) - Živka Ivkovića, inače jednog od organizatora (ovog) šabačkog LONESOME BLUES Festa, za koji je, kao suvenir, izrađen i ovaj privezak. Sa 2. Lonesome Blues festivala posedujem i interni CD sa live snimcima (TOČAK, PERA JOE, TANJA OKTOBAR...), pa ću i njega postaviti uskoro na Kupindo, potražite i te raritetne snimke u mojoj ponudi. ==================================================================== ROCK MEMORABILIA - ROCK MUZEJ - PROČITAJTE !!!!!!!!!!!!!!!! Na našem tržištu, kao jedan od mnogih nedostajućih segmenata u rock industriji, nedostaje i tržište memorabilia, artifakata prošlosti (ulaznice, flajeri, plakati, originalne fotke, autogrami i sve ostalo vezano za rock muziku, bendove i muzičare). Naravno, dok neko to ne prikupi, neće biti ni otvaranja pravog rock muzeja, mada je više nas o tome maštalo. O tome koliko kod nas nije razvijena svest o važnosti prikupljanja memorabilia, svedoči i to da smo jedina zemlja gde ploča sa autogramom muzičara ima nižu, manju cenu od običnog, dobro očuvanog primerka!!! U svetu, potpisane ploče mogu biti i 1000 puta skuplje od apsolutno novog `glanc` - MINT primerka. Pratite moje oglase na Kupindu. Trudiću se da ono malo što sam sačuvao, slikam i opišem sa svim potebnim informacijama, na način kako se to opisuje u svetu. Na žalost, na hiljade ovakvih stvarčica sam pobacao tokom godina. No, nešto sam i sačuvao. Već i te informacije i fotke će biti možda nekom inspiracija da se potrudi i izloži nam svoju kolekciju ovakvih stvari, a svima vama informacija iz prve ruke, o događajima u kojima sam učestvovao na ovaj ili onaj način, ili im makar bio savremenik, pa će i ta svedočenja jednog dana biti značajna za pisanje neke istorije rock muzike u Srbiji. Posebno su u prikupljanju ove istorijske građe bitni glavni urednici rock novina poput mene. Kod nas su se u najvećoj meri `ulivale` ne samo informacije i muzička izdanja, već i propusnice za koncerte, press-passovi i mnogo, mnogo toga zanimljivog (pisma čitalaca, pisma bendova i sl.). Vreme prolazi i te stvari se gube, bivaju uništene ili bačene. Potrudiću se da ih ovde ovekovečim u e-formi, a i da nekom kolekcionaru ponudim da ih uvrsti u svoju kolekciju. Cene su pažljivo proračunate i određene, u skladu sa raritetnošću, ali i nekim opštim pravilima koja vladaju u svetu za ovakve artifakte. Nisu jeftine jer ovakvo blago nigd eu svetu nije jeftino, šta više. RAZMENA: ako imate neke ovako zanimljive stvari, javite mi se (preko Kupindo poruka, ili me nađite na FB), pa možemo da napravimo neku razmenu, za neka muzička izdanja koja ovde takođe nudim i polako ubacujem. USKORO MNOGO NOVIH ROCK MEMORABILIA!!! rokerski pozdrav, advokat Branko Rogošić nekadašnji vlasnik i glavni i odgovorni urednik (glodur) Rock Expressa, Metal Expressa, Muzičara, Metal Marketa, Rock Express Recordsa, vlasnik MORDOR shopa i Dreamworld Music Service-a i kolekcionar muzike i svega oko nje već 45 godina (od svoje 9-te)

1,5 x 1,5 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.