I don't, but I would like to...
... have one cover or postcard with post mark from each post office from Faroe Islands.
They are not so many, but without you will not be possible.
I'm waiting your feedback... and of course I will support the cost deliveries or I'll send you back some nice cover with stamps from Portugal.

Please e-mail me for details...
mydogbono@gmail.com

Monday 26 April 2010

NORDIA 2010 – A vida costeira – A Aquacultura / NORDIA 2010 - On the sea coast – Aquaculture

Issue: On the sea coast – Aquaculture
Values: Souvenir sheet with two stamps of 10.00 DKK
Issue: 24-III-2010
Author: Edward Fuglø
Perforation:
Technique: Offset Printer: J. Enschedé – Holland

A aquicultura é uma "agricultura", a pesca é "caçar". Cada um destes dois estilos de vida representa o seu próprio sistema social e da cultura de base. Podemos reconhecê-los, mesmo nas mais antigas culturas conhecidas. Sociedades que vivem da agricultura querem controlar a natureza por meio do plantio, cultivo e colheita das culturas, ao passo que as sociedades que vivem da caça são incapazes de controlar a natureza e são obrigadas a se adaptar a ela: as pessoas devem seguir os animais que caçam. Mas as pessoas tendem a ser mais saudáveis quando comem carne e plantas, de modo que cada tipo de sociedade tem mantido um olho sobre o outro modo de vida. As sociedades primitivas que foram baseadas na caça começaram sua dieta vegetal das plantas que foram colectadas, onde foram encontradas por acaso. Pequenos animais também eram caçados nas sociedades agrícolas antigas, mas os seus sistemas sociais não foram organizados em torno da caça.

A sociedade Faroense é uma combinação da agricultura e pesca desde os primeiros tempos até à segunda metade do século 19. O povo das Ilhas Faroé vivido pela agricultura e pela captura de peixes, pássaros e baleias. Então a caça desenvolveu-se para uma maior extensão do que a agricultura, que quase desapareceu. Esta evolução continuou até cerca de 40 anos atrás, quando um tipo completamente novo de agricultura surgiu: a aquicultura.

culturists Aqua são os agricultores do mar. Eles não apanham peixe como os caçadores fazem. Aquicultura tornou-se o segundo maior negócio da Ilhas Faroé e terá ultrapassado a pesca tradicional, em poucos anos - dependendo se este é calculado pelo volume ou pelo volume de negócios.

A aquicultura depende de tecnologia moderna e de investigação up-to-date de forma considerável e, portanto, nunca antes foi possível. Mas o sistema social é o mesmo a que estamos familiarizados como o dos tempos antigos: as pessoas querem controlar a natureza e adaptá-la para permitir a criação de assentamentos permanentes. E embora a pesca moderna é também dependente da mais recente tecnologia e pesquisa, em princípio, segue o padrão de tempo honrado da sociedade de caçadores-colectores na medida em que segue a animais, em caçadas.

Às vezes, a pesca se aproxima de seu limite máximo, as quotas estão em causa e da aquicultura, também teve um número de dramáticos reveses da natureza, quando impôs seus próprios limites através de doença e mortalidade, por exemplo. No entanto, ambas as profissões têm florescido nos últimos anos para que a combinação dos sistemas sociais que podem ser observadas nas Faroes neste momento sãp uma reminiscência do antigo sistema social, com a diferença que temos agora de "cultivar" peixe ao invés de plantas.

Eyðun Andreasen Aquicultura A limpeza e os mares quentes ao redor das Ilhas Faroé são ideais para a criação de salmão. Inicialmente, em 1970, foi a truta arco-íris de cultivo, mas, desde então, a indústria tem-se concentrado na criação de salmão. Hoje, existem cerca de 25 fazendas de peixes nos fiordes e estreitos ao redor das ilhas sendo quw o salmão representa quase um terço do total das exportações das Faroes.

(English version)

Aquaculture is "farming", fishing is "hunting". Each of these two lifestyles represents its own social system and basic culture. We can recognise them even in the oldest known cultures. Societies that live by farming want to control nature by sowing, cultivating and reaping crops, whereas societies that live by hunting are unable to control nature and are obliged to adapt to it: people must follow the animals they hunt. But people are likely to be healthiest when they eat both meat and plants, so each type of society kept an eye on the other's way of life. The primitive societies that were based on hunting got their vegetable diet from plants that were collected where they were found by chance. Small animals were also hunted in the ancient agricultural societies, but their social systems were not organised around hunting.

Faroese society combined farming and fishing from the earliest times up to the second half of the 19th century. The people of the Faroes lived by farming and by catching fish, birds and whales. Then hunting developed to a greater extent than did farming, which almost disappeared. This development continued until about 40 years ago when a completely new type of farming arose: aquaculture.

Aqua culturists are the farmers of the sea. They do not catch fish as hunters do. Aquaculture has become the second-biggest business in the Faroes and will have superseded traditional fishing in a few years – depending on whether this is calculated by volume or turnover.

Aquaculture depends on modern technology and up-to-date research to a considerable extent and has therefore never before been possible. But the social system is the same as we are familiar with from ancient times: people want to control nature and adapt it to enable them to create permanent settlements. And even though modern fishing is also dependent on the latest technology and research, in principle it follows the time-honoured pattern of the hunter-gatherer society in that it follows the animals it hunts.

At times, fishing approaches its ultimate limits where quotas are concerned and aquaculture has also had a number of dramatic reverses when nature imposed its own limits through disease and mortality, for instance. Nevertheless, both occupations have flourished in recent years so that the combination of social systems than can be observed in the Faroes at present is rather reminiscent of the ancient social system, with the difference that we now "cultivate" fish rather than plants.

Eyðun Andreasen Aquaculture The clean, warm seas around the Faeroes are ideal for farming salmon. Initially, in the 1970s, rainbow trout were farmed but since then the industry has concentrated on farming salmon. Today there are about 25 fish farms in the fjords and straits around the islands and salmon farming accounts for almost one-third of total exports from the Faroes.

Sunday 25 April 2010

As Cores das Faroés / The Faroese Colours

Issue: The Faroese Colours
Values: 18.00 and 24.00 DKK
Issue: 26-IV-2010
Author: Eli Smith
Perforation:
Technique: Offset and gloss coating with 30 micron powder
Printer: Southern Colour Print, New Zealand

A natureza sempre ocupou um lugar especial no coração do artista Eli-Smith (1955), que começou a pintar com pigmentos obtidos a partir de localidades das ilhas Faroé, em 2003. Originando uma uma série de quadros pintados com materiais naturais puros, como o óxido de ferro, areia, conchas de mexilhões, turfa e carvão. A grande experiência e inspiração derivados das antigas pinturas das tumbas egípcias e pinturas rupestres em Espanha, convenceu-o da beleza do trabalho desta forma. Para mais informações sobre Eli Smith e suas obras, consulte o endereço
Eli Smith on YouTube

(English version)

Nature has always occupied a special place in the heart of all-round artist Eli Smith (1955) who began painting with pigments obtained from Faroese localities in 2003. This became a series of pictures painted with pure natural materials such as iron oxide, sand, mussel shells, turf and charcoal. A great deal of experience and inspiration derived from ancient Egyptian tomb paintings and cave paintings in Spain convinced him of the beauty of working in this manner. For more information about Eli Smith and his works please see www.eli.fo.


I taught drawing and painting at the Faroes Folk High School from January to June 2003. On one of the rambles we took in Suðuroy, we were walking along a rock wall that had a reddish stripe in it when a teacher asked, "Couldn't you make paint of that?"

We had Danish visitors the same summer and they were naturally interested in seeing something of our wonderful country. We sailed out to the island of Nólsoy and close in to the west side of the island where we enjoyed the sight of the cliffs and the birds. Then we sailed south along the coast and passed a place called 'Hósmøl' where the beach was filled with pebbles when I once again saw the attractive reddish belt in between the layers of basalt. The red shade is called 'royðugrót' in Faroese and the material is solidified volcanic ash (iron oxide). I was fascinated by the sight of it and thought that it must be possible to use it for painting. It had been there for thousands of years in all kinds of weather and its colour remained unchanged.

When I had put my visitors on shore at the southern tip of the island and begun to sail back to the village where I would collect them later, the motor broke down just opposite the previously mentioned Hósmøl. There I was again in the place with the beautiful colours and, as I couldn't repair the motor on the spot, I grabbed an oar and paddled to the stony beach. I let down the anchor, went ashore and called for help on my mobile phone. I now had an opportunity to look at the red stone more closely and became so filled with physical well-being at standing alone there and enjoying the peace and all the beauty around me that I said to my God in heaven, "A thousand thanks dear God, you are fantastic."

I got hold of some cloths and plastic bags, anything I could put the iron oxide into and climbed the cliff face up to the red belt. On my way up an eider flew out of its nest in panic, clearly indicating that it was not accustomed to having visitors.

When I saw that it was not only the red shade, but also shades of brown, green and ochre I had to think about which colours I would take home with me. In the end we all got home in good shape.

I gradually began to pulverise the stones and made both oil paint and watercolour paint, painted them on paper and hung the colour samples up so that I could experience them, walk by them and touch them. I took more frequent trips into the country and as time passed I accumulated a small range of pigments, but I still had many unanswered questions.

One of my sources of inspiration was my dear mother and she brought me a reproduction of some Egyptian tomb paintings one day and to my great surprise the colours they had used bore a striking resemblance to the pigments I had found in the Faroese localities. This gave me the confidence to continue with my experiments. I began to paint what can only be seen outside the towns and villages such as mountain landscapes, sheep, birds and stones. In fact, the places where I found my painting materials.

Several years have gone by since I began painting with the Faroes materials and it has been an incredibly exciting time for me. I have no plans to stop painting with these materials as "they keep my feet on the ground". I am forced to use the modest colour range to the optimum and have to think in new ways with regard to colours and style. So I have moved to a different world with the Faroes pigments where colours and the choice of colours is completely different. Herein lies the challenge that opens new paths.

Eli Smith

Europa 2010 – Livro Infantil / Europa 2010 - Childrens books

Issue: Europa 2010 - Childrens books
Values: 10.00 and 12.00 DKK
Issue: 26-IV-2010
Author: Bárður Oskarsson and Janus á Húsagarði
Perforation:
Technique: Offset
Printer: Österreichische Staatsdruckerei, Austria

Um bom livro infantil não é apenas um livro infantil, é apenas um livro para todos aproveitarem, tanto para olhar como para ler. Cada pessoa tem algo com a vêr com isso, o adulto, bem como o jovem leitor. Não deve haver espaço para todas as faixas etárias. O mesmo vale para todas as verdadeiras obras de arte - eles são atemporais e não confinados dentro de certos limites, nem de tempo, nem de limites de idade. Se o trabalho é de boa qualidade, todos devem ser capazes de o apreciar.

Uma obra literária, seja ela de que tipo, é boa para ampliar a sua mente, lendo sobre os países estrangeiros e mundos estranhos. Mas não pode haver nenhuma dúvida sobre o facto de que, ao mesmo tempo é de vital importância que todas as nações tenham os seus próprios livros com narrativas que ressoam em cada indivíduo. Temos de estar bem familiarizados com nós próprios, se quisermos ser capazes de tirar o máximo proveito de tudo o que vem de fora. Nós vamos afrouxar o nosso apoio se não temos uma posição própria para nos sustentarmos. Por isso, é bom que mesmo as menores nações possam criar as suas próprias obras de arte, que criem a sua própria literatura.

Nas Faroes o professor Hans Andrias Djurhuus (1883-1951) foi o primeiro a escrever poemas, contos e histórias para crianças. Os animais que as crianças sabiam de sua vida quotidiana começaram a falar, e seus diferentes personagens foram revelados pelos seus actos. Simples contos da primeira metade do século XX ainda se mantêm tão claros como se tivessem sido preservados em placas de vidro fotográfico, só que eles são ainda mais vivos à medida que emergem de seus textos ingênuos. Mesmo assim as suas músicas são cantadas e suas histórias são lidas com muito prazer nos jardins de infância, bem como em escolas e lares. Inúmeros livros didáticos criados por Heinesen William (1900-1991) também se tornaram parte da literatura dos nossos filhos.

Um pouco mais tarde Sofía Petersen (1884-1960) coleccionou rimas e contos de fadas que foram publicados em 1947 no livro "Ao cair da noite". O artista Elinborg Lützen (1919-1995) ornamentou com o seu trabalho caseiro, fotos apaixonantes tanto em preto e branco como em cores. Aqui nós temos o campo aberto, com todos os seus animais e plantas. É também encontrada a mesma bruxa que as crianças em muitos outros países também conhecem, ou é apenas mais um vestido de roupa diária das Ilhas Faroé, ou um território das Ilhas Faroé em que se vive, qual arrecadação de uma casa com todos os utensílios domésticos que vemos agora no museu.

Dois dos mais recentes livros de crianças das ilhas Faroé "Um cão, um gato e um rato" e "Viagem Moss Mollis" são mostrados na nova emissão de selos das Ilhas Faroé.

Em 2004, o livro "Um cão, um gato e um rato", foi publicado por Bárður Oskarsson (nascido em 1972) que o escreveu e ilustrou. Toda a história acontece em uma casa que poderia estar em qualquer lugar do mundo. Todas as ilustrações são aguarelas que foi desenhando com lápis e tinta preta. Esta é uma clássica história de gato e rato. Não é de admirar que algumas das características marcantes da literatura em moderna em quadrinhos roubou o seu espaço para o livro ilustrado. O impacto de inspiração internacional é patente no trabalho.

Em 2008 veio o livro "Viagem Moss Mollis". Em uma pequena introdução á Húsagarði Janus (nascido em 1975) diz que a história é sobre um dos trolls pequenas ilhas Faroé que pode ficar ao sol, um facto que lhe permite viajar ao redor das ilhas à vontade. Em imagens ricamente coloridas de água o pequeno troll Moss Mollis viaja ao redor das ilhas como outro Holgarsson Niels, menina sueca Selma Lagerlöf, embora sem se sentar na parte de trás de um ganso. A viagem começa no fundo do oceano onde Mollis Moss pega uma pérola de um mexilhão aberto. Com esta pérola que viaja por todo o país nas costas de um ganso-patola, de um cavalo, de uma baleia, de um corvo e um carneiro até que ele encontra seu querido troll que tem a pérola e que se senta ao seu lado assistindo ao luar no mar.

Marianna Debes Dahl

(English version)

A good children’s book is not merely a children’s book, it is just as soon a book for everybody to enjoy, both to look at and to read. Each person gets something out of it, the adult as well as the young reader. There must be room for all age groups. The same goes for all true works of art – they are timeless and not confined within certain limits, neither time- nor age group-limits. If the work is of good quality, everybody ought to be able to enjoy it.

It is good to broaden your mind by reading about foreign countries and strange worlds. But there can be no doubt about the fact that at the same time it is of vital importance that all nations have their own books with narratives that will resound in each individual. We must be well acquainted with our own if we are to be able to soundly get the most out of all that comes from the outside. We will loose our foothold if we do not have a foothold of our own to stand on. Therefore it is good that even the smallest nations create their own works of art, that they write their own literature.

In the Faroes the teacher Hans Andrias Djurhuus (1883-1951) was the first to write poems, fairy-tales and stories for children. The animals that the children knew from their everyday life started talking, and their different characters were revealed through their deeds. Simple up-to-the minute accounts from the first half of the twentieth century are still as clear as if they have been preserved on photographic glass plates, only they are even more vivid as they emerge out of his naive texts. Still his songs are sung and his stories are read with great pleasure in kindergartens as well as in schools and homes. The amusing, sometimes sinister pictures that William Heinesen (1900-1991) drew to the numerous schoolbooks have certainly also become part of our children’s literature.

Somewhat later Sofía Petersen (1884-1960) collected nursery rhymes and fairy-tales which were published in 1947 in the book ”At Nightfall”. The artist Elinborg Lützen (1919-1995) ornamented the work with homely, enthralling pictures both in black and white and in colour. Here we have the outfield with all its animals and plants, and here is the same witch that children in many other countries know too, only this one is clad in Faroese everyday clothes, she lives in a Faroese turf shed of a house and has all the old Faroese domestic utensils which we now see at the museum.

Two more recent Faroese children’s books ”A dog, a cat and a mouse” and ”Moss Mollis’ journey” are shown on this issue of new Faroese stamps.

In 2004 the book ”A dog, a cat and a mouse” was published which Bárður Oskarsson (born 1972) both wrote and illustrated. The entire story takes place in a house that could be anywhere in the world. All the illustrations are in tawny water colours on which has been drawn with pencil and black ink. This is a classic dog’s-, cat’s- and mouse-story. No wonder that some of the salient characteristics of the modern comic strip-literature has stolen its way into the picture book. The impact from international inspiration is at work.

In 2008 came the book ”Moss Mollis’ journey”. In a short introduction Janus á Húsagarði (born 1975) says the story is about one of the small trolls in the Faroes that can stand the sun, a fact which enables it to travel around the islands at will. In richly water-coloured pictures the small troll Moss Mollis travels around the islands like another Niels Holgarsson, Selma Lagerlöf’s Swedish boy, though not sitting on the back of a goose. The journey commences at the bottom of the ocean where Moss Mollis picks up a pearl from an open horse mussel. With this pearl it travels across the country on the back of a gannet, of a horse, of a whale, of a crow and of a ram until it finds its darling troll who gets the pearl and who sits at his side in the moonlight watching the sea.

Marianna Debes Dahl