Kaladlit Okalluktualliait - edited by Hinrich Rink & printed by Lars Møller at Godthåb in Greenland in 1859-63.
These 4 volumes of Greenlandic folktales, illustrated with remarkable woodcuts by an Inuit artist, are amongst the rarest & most extraordinary of exotic imprints. 1/
The text is in both Danish & the Kalaallisut dialect of the Greenlandic language. In the first two vols the illustrations - 30 woodcuts - were supplied by an Inuk named Aron of Kangeq, a sealer & walrus hunter who lived at the Moravian mission at the trading station of Kangeq. 2/
This set has the ex-libris of the great Anglo-Danish collector Bent Juel-Jensen, who wrote: "this is far and away the biggest and the most important undertaking of the little early press at Godthaab, Greenland. Its importance rests on the Greenlandic tales which otherwise... 3/
... might have been lost with 'civilization'. It's the magnum opus of that extraordinary artist Aron Kangek, the hunter who without formal training with simple tools cut the marvellous woodcuts. The acquisition of this was one of the greatest thrills I've had as a collector." 4/
This series of folktales is, according to Oldendow, "probably the first text printed by Native American people preserving their own cultural heritage. It represents the earliest [printed] expression of the Esquimo soul... handed down through generations of oral tradition." 5/
Many of the stories, especially in the first volume, describe the clashes between Norsemen and Eskimo. 6/
Although ephemeral pieces had been printed on a hand press in Greenland as early as 1793, the first real press was brought there by the enthusiastic Danish Crown Inspector for Southern Greenland, Hinrich Rink, in 1857. He began his career at the Moravian mission at Godthaab. 7/
Rink was determined to collect legends & folktales of the Greenland Inuit and publish them, an ambition achieved in these 4 volumes produced over five years. All of the letterpress was printed in a small, unheated workshop next to Rink's house, mostly executed by Lars Moller. 8/
The most amazing aspect of these books are the illustrations. In the first two volumes these were all supplied by Aron of Kangeq. Having heard of his raw artistic talent, Rink supplied him with "paper, coloured pencils, and the necessary tools for woodcutting." 9/
Thirty of his woodcuts, about half of them hand- coloured, appear in the first two volumes. As Oldendow says, "With his fertile imagination Aron drew men in violent motion... he depicts the legendary world of the Greenlanders with insight and ability..." 10/
"... He makes us understand the vastness, loneliness, and weirdness of the majestic Greenland landscape and evokes the soul of the country as the ancient Eskimos have known it..." 11/
Aron created pictures of remarkable power, all the more extraordinary for the circumstances of their production. In the third volume Lars Moller, the printer, supplied a series of illustrations of Greenland life created on the first lithographic press in Greenland. 12/
Rink collected oral tales from throughout Greenland, although mainly in the southern area he administered. The remarkable oral tradition of these communities, polluted by few outside influences, stretched back to the early Middle Ages. 13/
Rink recognised that some of the tales existed in the realm of pure myth, but that others represented recollections, passed from one generation to the other, of events of many centuries earlier. 14/
In the preface to the third volume, Rink sets out his theories on the tales, laying the foundation for scholarship on the Greenland Inuit. All of the text is given in both Greenlandic and Danish. 15/
This set is notable for containing two folding maps not regularly issued with the 4 volumes, but printed to be distributed separately. Both were prepared by S. Kleinschmidt, and are lithographic maps showing the fjords around Godthaab, with accompanying letterpress text. 16/
An English translation of Rink's Kaladlit Okalluktualliait was published in 2020:
The Native Greenlander: Folktales of Greenland. 17/ amazon.com/dp/0996748083/…
The seven days of Sukkot start tomorrow. Sukkot is one of the three Jewish festivals on which the ancient Israelites were commanded to make a pilgrimage to the Temple in Jerusalem.
This beautiful folio-sized machzor (prayerbook) for Sukkot according to the Provençal rite of Avignon, was written by the scribe David Tsoref in 1721. 1/
After their expulsion from France in the 14th-century, a handful of Jews remained in the Provençal Papal territory of the Comtat Venaissin. Avignon was one of four Jewish communities tolerated by the Holy See: the other 3 were Carpentras, Cavaillon, & L'isle-sur-la-Sorgue. 2/
Because of their extreme isolation from the rest of the Jewish world (and even, within the Comtat Venaissin, from each other), all 4 communities developed their own unique minhag (liturgical rite).
Most of these were never printed, and survive only in manuscript form, as here. Provençal manuscripts like this are instantly recognizable by their beautifully distinctive Hebrew script. 3/
Today, August 2, Roma people around the world commemorate the genocide of the Roma with Samudaripen memorial day. It marks both the specific moment in 1944 when the Nazis murdered around 3,000 Roma at Auschwitz, and the wider Roma genocide during the Second World War. 1/
The number of Roma killed during the Samudaripen is still unclear - the US Holocaust Memorial Museum puts the figure of Roma dead at between a quarter of million and a half a million people. 2/
However, the advocacy group the International Romani Union believes that as a result of this genocide, approximately 2 million Roma were killed, which was about two-thirds of the total Roma population in Europe at the time. 3/
One of the masterpieces of ancient Egyptian art, the 'Seated Scribe' was discovered by the French archeologist Auguste Mariette at the Saqqara necropolis just south of Cairo in 1850, and dates to the period of the Old Kingdom, around 2500 BCE. It's now in the collections of @MuseeLouvre.
The eyes are especially amazing. I'll explain why. 🧵
The eyes of the scribe are sculpted from red-veined white magnesite, inlaid with pieces of polished rock crystal. The inner side of the crystal was painted with resin which gives a piercing blue colour to the iris and also holds them in place. 2/
Two copper clips hold each eye securely in place. The eyebrows are marked with fine lines of dark paint. The scribe stares calmly out to the viewer as though he is waiting for them to start speaking. 3/
This is the Rongorongo script of Easter Island. Rongorongo lacks an accepted decipherment but is generally presumed to encode an earlier stage of Rapa Nui, the contemporary Polynesian language of the island. It is possible that it represents an independent invention of writing. 1/
Hundreds of tablets written in Rongorongo existed as late as 1864 but most were lost or destroyed in that period and only 26 of undoubted authenticity remain today; almost all inscribed on wood. Each text has between two and over two thousand glyphs (some have what appear to be compound glyphs). 2/
The longest surviving text is that on the ‘Santiago Staff’: around 2,500 glyphs, depending upon how the characters are divided. The glyph-types are a mixture of geometric figures and standardized representations of living organisms; each glyph is around one centimetre in height. 3/
Oy. Forget about being a "rabbi", if you had even a kindergarten level knowledge of Hebrew (or Judaism for that matter) you'd know that this is not old, not Jewish, not an amulet, and nothing to do with kabbalah (which you grotesquely mischaracterize). It's a crude mishmash of… https://t.co/3IJjWrqnIp https://t.co/U7OBn124MNtwitter.com/i/web/status/1…
When looking at any purportedly ancient Jewish manuscript, bear in mind: 1. Jewish manuscripts are generally austerely plain and written in black ink only. Red ink is seen occasionally as a highlight color in for example Yemenite manuscripts, but gold ink is essentially never… twitter.com/i/web/status/1…
Oi u luzi chervona kalyna - Oh, the Red Guelder Rose in the Meadow - is the anthem of 🇺🇦 Ukrainian resistance to Russian oppression.
Written in 1875, it was adapted by Stepan Charnetsky in 1914 to honor the Sich Riflemen of the First World War. 1/ twitter.com/i/web/status/1…
The red guelder rose or viburnum of the song ('kalyna' in Ukrainian) - a shrub that grows four to five metres tall - is referenced throughout Ukrainian folklore. It is depicted in silhouette along the edges of the flag of the President of Ukraine. 2/
Due to the song's association with the Ukrainian people's aspiration for independence, singing of the song was banned during the period in which Ukraine was a Soviet Republic(1919-1991). Anyone caught singing it was jailed, beaten, and even exiled. 3/