Vintage Embossed Copper Wall Decoration of and 50 similar items
Vintage Embossed Copper Wall Decoration of the Young Love, Home Wall Décor
$1,557.96 MXN
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View full item details »
Las opciones de envío
La política de devoluciones
Refunds available: See booth/item description for details
Protección de compra
Opciones de pago
PayPal accepted
PayPal Credit accepted
Venmo accepted
PayPal, MasterCard, Visa, Discover, and American Express accepted
Maestro accepted
Amazon Pay accepted
Nuvei accepted
Rasgos del artículo
Categoría: | |
---|---|
cantidad disponible: |
Sólo uno en stock, para muy pronto |
Condition: |
Good - average wear |
Original/Reproduction: |
Original |
Color: |
Brown |
Material: |
Copper |
Age: |
Post-1940 |
Country/Region of Origin: |
Armenia |
Primary Material: |
Copper |
Original/Repro: |
Original |
Detalles del anuncio
Las políticas del vendedor: | |
---|---|
Publicado en venta: |
Más de una semana |
Artículo número: |
1396958893 |
Descripción del Artículo
Vintage Embossed Copper Wall Decoration of the Young Love, Home Wall Décor, Chekanka The Love
Antique vintage embossed copper wall decoration made in Armenia in the Soviet era 1970s or even early in the 1960s which evokes the love between two young people. This is series of different chekanka which were made to reflect about love.
Height 57cm – 22.44in
Length 30cm – 11.81in
Weight 1209gr
There was no pornography, no pop-stars and no comic books in Soviet Armenia. But there were chekankas. For at least four decades, these copper wall-panels decorated the homes of ordinary Soviet citizens en masse, and were particularly prized in Armenia as tokens of aesthetic emancipation. Since censorship made it impossible to trade in items of religious devotion in the USSR, the chekanka also became a proxy for expressing a sense of shared identity and belief in collective mythologies. As the French philosopher Jean-Luc Nancy has proposed, such mythologies are essential for the formation of all communities and seem to be always underpinned by feelings of loss. Imbued with longing for a perpetually lost ideal, these collective narratives still shape modern ideas of nation and state. It is no wonder, then, that the emergence of mass-produced chekankas coincided with the awakening of nationalist discourses in Armenia and the Caucasus during the 1960s.
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