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| | [Previous stamp] [Next post stamp] | | | LACE | Serie: 441 | Type: P | Stamps in serie: 2
The postage stamps have been issued in the 30-stamp sheets. The Croatian Post issued First Day Cover (FDC) too.
|  | | Stamps no: 441
LACE | | Value: | 3,5 kn | | Author: | Orsat Franković, designer, Zagreb | | Size: | 27,66 x 40,20 mm | | Paper: | white 92g, gummed | | Perforation: | 11 1/2 | | Tehnique: | rotogravure, four-colour print | | Printed by: | Vicindo, Mechelen, Belgija | | Date of issue: | 13.7.2002 | | Quantity: | 700000 |
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The postage stamps have been issued in the 30-stamp sheets. The Croatian Post issued First Day Cover (FDC) too.
LACE
If history begins in nature, then lace begins in cobweb. The technological explanation for the creation of lace is related to the ending of the hem of weaving - in order to stop the threads come loose. But this fragile play of fullness and emptiness is in itself an existential metaphor. There is a deeper call coming from it. It is a stake of patience and work put into the lace that comes from the world of virtue, one could almost say from the world of penitence. On Pag, the island that stands for the notion of the Croatian lace, making lace is usually called by the local word for exertion, pains, hard work, the same word from which the word for worker or ploughman is derived. Wearing lace belongs to an altogether different world, the world of vanity and seduction, consequently wearing lace was limited by law, even forbidden in some environments and at some times. This ambiguity, the duplicity, the twofold content is in complete harmony with the twofold form - its threads and holes.
Though the production and decoration of textiles have been mentioned, so to say, from the beginning of the world, in the Bible, in the Odyssey, and its material finds go back to Egyptian tombs, early examples of lace originate from the Middle Ages, and imitate the narrative visual techniques, painting, illumination. The blossoming of lace and the great interest for it starts with the Renaissance, when lace is designed in geometrical shapes. The 16th century particularly , the century of Mannerism, when ambiguity is the basis of the spiritual code, lace becomes the peak of textile creation.
There are two fundamental techniques to be distinguished from the very beginning: needlepoint lace and bobbin lace. There are numerous subtechniques characteristic of different countries, regions or cities. The best known countries, producers of lace in Europe, are Belgium, France, Italy, but Croatia, too has its special place in the history of this skill. Unfortunately, little is known about the well-known lace from Dubrovnik, referred to as point de Ragusa, as there are only written traces left. The oldest preserved samples in our country come from the island of Lopud, from the Franciscan monasteries on the islands of Hvar and Visovac, as well as from abbey of the Benedictine nuns in Zadar.
Pag, the low northern Adriatic stone island, with traces of Neolithic civilization, was settled by Croats in the early Middle Ages. In 1453 the Renaissance town of the same name was built, with a contribution of the great sculptor and constructor of the Cathedral in Šibenik, Juraj Dalmatinac. In the lunette of his Šibenik Cathedral there are figures of men and women wearing folk costumes from the time of the transition from Gothic to Renaissance, the age so very important for the history of lace. The needlepoint lace, that has undergone no change until the end of the 19th century, kept varying in an inexhaustible, strict wealth of shapes called mendulice, kolumbarići and listačići (plural forms of words referring to the shapes of almonds, doves and leaves), which were executed by slitting the cloth and stitching all around it with a needle. Since the 20th century the lace becomes detached from the backing cloth and a single structural thread is being stitched around. This isolated island has for centuries retained its Renaissance production, naturally in constant contact with Venice, so it is difficult to determine the volume of influence from the outside world compared to the scope of indigenous Croatian incentives coming from Pag and other Croatian towns and monasteries that have been circulated into the world beyond Croatia. Historicism has renewed the interest in history, and the almost extinct production was brought back at the end of the 19th century. In 1900 a lace-work school was founded on Pag, and the Habsburg dynasty endeavoured to save this rare artistic technique. The manufacturing of the Pag lace, as a living monument of the ethics and culture of life, belongs to the remarkable features of Croatian identity. | | |
| | Other stamps in serie: |  | | No: 442
LACE
Date: 13.7.2002 |
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