Insignias and Badges

The article gives the history of insignia of servicemen of the Tuvan people's revolutionary army and the fellow of the Ministry interior of the Tuvan people's republic in 1932-1941. Since the inception of the Tuvan regular army in 1924 and over the next 20 years, it used the uniforms of the Red Army. At the same time, at certain stages, the tuvan uniform differed from the soviet rank of insignia, which during the existence of the national army changed several times: in 1924-1936 was used soviet-style insignia, in 1936-1941 was used national insignia, and then, on June 13, 1941, a system of insignia similar to the Red Army was reintroduced.

The article discusses the history of the Tuvan people's revolutionary army from the beginning of its creation in 1921 until its disbandment in 1946. The decision on its creation was made on September 28, 1924 by the III Great Khural (congress) of the Tuvan People's Republic. The readers are also offered a brief sketch of the history of the Tuvan armed forces, including material on the insignia of the period 1943-1944.

Označavanje različitih vojnih struka sastavni je dio ukupne simbolike vojne odore. Dva su temeljna različita vizualna sustava takvog označavanja – korištenjem različitih boja tzv. boja oružja te korištenjem figurativnih oznaka – značaka. U ovom radu prikazan je razvoj sustava označavanja rodova i struka u vojskama država u kojima se Hrvatska nalazila u XIX. i XX. stoljeću, te izbor iz sustava ovakvih oznaka u nekim današnjim vojskama u Europi. U Republici Hrvatskoj nisu još uvedene ovakve oznake. U Austrougarskoj koristilo se sustav kombinacijama boja za označavanje pripadnosti pukovnijama, a označavanje specijalnosti bilo je rudimentarno. U Jugoslaviji je propisan sustav temeljen na boji oružja te nekoliko značaka, broj kojih se do 2. svjetskog rata postepeno uvećavao. U NDH koristila se kombinacija boja i značaka, no uz česte izmjene sustava. Jedinice NOV i POJ također uvode sustav označavanja bojama, da bi nakon rata JNA uvela isključivo značke na suvratcima. Naime, povećanjem broja posebnih struka koje je potrebno označiti, sustav boja pokazuje se neučinkovit zbog nedovoljne razlučivosti.

This paper addresses the symbolism of redoubtable beasts in princely heraldic badges of the late Middle Ages. It consists of three parts: first, a quantitative study of 894 heraldic badges dating from 1370 to 1520 which allows to apprehend the population and evolution of redoubtable beasts occurring in these badges; second, a series of four case-studies, namely Giangaleazzo Visconti’s leopard, Jean de Berry’s bear, Richard III’s boar and Louis XII’s porcupine, in order to shed light on the relationship between a prince and his emblematic animal; third, a study of the animal badges that can be found in the first modern treaty on heraldic badges, namely Paolo Giovio’s Dialogo dell’imprese militari e amorose (Rome: Antonio Barre, 1555), in order to discover the metamorphosis of the medieval heraldic badge into the early modern times.

A fines del siglo XIV y principios del XV las divisas de la dinastía Trastámara adquirieron un particular protagonismo en el proceso de consolidación política de la monarquía castellana. Este artículo explora los emblemas personales que adoptaron Enrique III y su esposa Catalina de Lancaster –el cordón de San Francisco y la piña– en un período alterado por la agitación aristocrática y los anhelos de renovación religiosa. Además de esclarecer su significado político y devocional, analizamos su uso cortesano, sus representaciones artísticas, sus innovaciones gráficas y la influencia que ejercieron en el desarrollo de la emblemática y las formas visuales del poder real.

L’étoffe de ses rêves  : le vêtement du prince et ses parures emblématiques à la fin du Moyen Âge - Dans la seconde moitié du xive siècle, pour la première fois, le vêtement du prince dit plus que son statut  : il témoigne de sa volonté et de son désir (amoureux, politique, militaire ou autre) en un langage de lettres brodées, de figures émaillées et de couleurs textiles. Plus que de simples ornements décoratifs, ce sont les signes d’un vocabulaire emblématique, celui de la devise, dont la matière sémiotique est hétérogène (sentences, figures, couleurs et monogrammes) et dont le vêtement curial constitue le principal support, quand bien même son succès dans les cours royales et princières d’Europe en projette les signes sur toutes les surfaces disponibles, de la page du livre à la paroi de l’édifice. Fondée sur des sources archéologiques, iconographiques et textuelles, cette étude des parures vestimentaires emblématiques a pour cadre les cours royales et princières de France aux alentours de 1400.

The Stuff of his Dreams : Princely Dress and Emblematic Adornment in the Late Middle Ages - In the second half of the fourteenth century, for the first time, a prince’s clothing said more than his status  : it declared both his will and his desire (amorous, political, military, and so on) in a language made up of embroidered letters, enamelled figures and textile colours. More than simply decorative ornaments, these were the signs of a new symbolic language  : that of the devise, with its heterogeneous semiotic material (sentences, figures, colours, and monograms), and whose principal vehicle was court dress, even if its popularity in the royal and princely courts of Europe could be seen on every available surface, from the pages of books to the walls of edifices. Based on archaeological, iconographical, and textual sources, this study of emblematic clothing adornments looks at the royal and princely courts of France around 1400.

В статье рассматривается вопрос о наградной системе антибольшевистских режимов востока России применительно к деятельности Временного Сибирского, Временного Всероссийского и Российского правительств. Делается вывод о том, что практика награждений носила противоречивый и разнонаправленный характер. Попытки адаптировать традиционную русскую наградную систему к радикально изменившимся обстоятельствам приводили к девальвации этих наград в глазах общества и армии. В данных обстоятельствах стала проявляться тенденция к учреждению новых, оригинальных знаков отличия. История учреждения новых орденов отразила идейно-политическую неоднородность антибольшевистского движения и низкую эффективность деятельности государственного аппарата. Несмотря на существенное внимание, уделявшееся лидерами антибольшевистского движения вопросу о наградах, целостная и эффективная наградная система на востоке России в период гражданской войны так и не сложилась.
The article deals with the award system of anti-Bolshevik regimes in Eastern Russia with regard to activities of the Provisional Siberian, Provisional All-Russian and Russian Governments. The study concludes that the award practices were of a contradictory nature. The attempts to adapt the conventional Russian award system to the dramatically changed conditions led to devaluation of these awards in the eye of public and army. Under these circumstances, the tendency to establish new, unique badges of merit has occurred. The history of establishing new orders reflected the ideological and political discontinuity of Anti-Bolshevik movement and the low efficiency of state machine activities. Despite the great attention paid by the leaders of Anti-Bolshevik movement to the issue of awards, the integral and effective award system has never been established in Eastern Russia during the Civil War.

The transformation of the protome of a winged horse into a bird-horse on the coins of Lampsacus has already been described by O. Tekin (forthcoming). He could refute the older interpretations as a hippalektryon or a hippocampus. But what does it mean that the polis Lampsacus modified its parasemon, i.e. its official symbol? There is no other case for such a modification of a parasemon. How did the modification of the coin designs of the originally protome influence the market weights and the document reliefs of Lampsacus? The dating of that modification might in turn allow us to date the other instrumenta publica of Lampsacus. The presentation includes all known official objects.
Its aim is to show that the different instrumenta publica effected each other along the chronological development of this parasemon from the protome to the bird-horse.

The history of the Royal Hungarian Air Force's squadron insignias in the Second World War is an interesting subject. This paper describes the life and work of a former RHAF pilot, who designed and created three suaqdron insignias, one of them was unknown and unpublished so far.
The title of the paper was published erroneously in the journal, in a later issue it was corrected. The paper was published in the 6/2016 issue of Haditechinka, pp. 20-23.

A magyar királyi honvéd légierők történetének érdekes színfoltja az adott időszak repülőszázadainál alkalmazott századjelvények története. Ez a tanulmány a magyar királyi honvéd légierők egy olyan egykori pilótáját és annak munkásságát mutatja be, aki az adott időszakban három századjelvényt is megtervezett és kivitelezett, ezek közül az egyik
pedig ezidáig ismeretlen, publikálatlan volt.
A tanulmány címe hibásan jelent meg az adott számban, egy későbbi számban ez korrigálásra került (sajnos egyéb térn is belenyúltan a tanulmányba, a képes pontos forrásait sem adták meg, illetve hibásan - a színes grafikák az Ágoston-család tulajdonában vannak). Az itt olvasható eredeti cím alkalmazandó. A tanulmány a Haditechnika 2016/6. számának 20-23. oldalain jelent meg.

• Devices, badges or imprese, modalities of emblematics, were used by wo­ men between the 14th and 17th centuries, although less frequently than by men. This study analyses a little more than two dozen historical devices of ladies of the XVth and XVIth cen­ turies from the perspective of emblematic genre theory. It deals with various aspects such as the structure, the personal involvement of the owners in the design of their devices, the purpose and manners of displaying wit employed in their composition, etc., and concludes that there are no noticeable differences between women's devices and the masculine ones, except that the imprese of ladies crafted for special occasions (to display in the course of cele­ brations-invenciones-) did not contain messages of praise to males nor amorous laments, which would have been interpreted as somewhat vulgar and in bad taste, according to the mentality of the time, while gentlemen produced a large number of amorous devices.

RESUMEN • Las divisas o empresas, modalidades de la Emblemática, fueron usadas por mujeres entre los siglos XIV y XVII, si bien con menos frecuencia que por los hombres. Este trabajo analiza poco más de dos docenas de divisas históricas de damas de los siglos XV y XVI bajo la perspectiva de la teoría del género emblemático. Se atiende a diversos aspectos como la estructura, la implicación personal de las propietarias en el diseño de sus empresas, la finalidad y procedimientos de agudeza empleados en su composición, etc., y se concluye que no se advierten diferencias notables entre las empresas femeninas y las masculinas, salvo en que las divisas ocasionales de las damas (para ostentar en festejos-invenciones-) no contenían mensajes de elogio a varones ni lamentos amorosos, lo cual hubiera sido visto, según la mentalidad de la época, como liviano y de mal gusto, mientras que los caballeros produjeron una gran cantidad de divisas amorosas.

Resumo - A Revolução iniciada em Vila Franca de Xira a 27 de Maio de 1823 teve uma base de apoio militar e popular de grande amplitude, que foi visível no cortejo triunfal reunido em redor do soberano no dia 5 de Junho, aquando do seu regresso a Lisboa. Em comemoração da reposição dos direitos de soberania do rei D. João VI, foi decretada a criação de uma medalha de distinção com a sua Real Efígie e a legenda evocativa “Fidelidade ao Rei e à Pátria - 1823”, que se tornaria na mais importante insígnia honorífica de todo o seu reinado. O autor revela pela primeira vez toda a documentação que suportou o fabrico dessa medalha na Casa da Moeda de Lisboa, bem como da medalha gémea alusiva à “Heróica Fidelidade Transmontana”, e respectivas estatísticas de produção.

Abstract - The Revolution initiated in Vila Franca de Xira on May 27, 1823 had a strong military and popular support, that was visible in the triumphal procession reunited around the sovereign on the 5th of June, when of his return to Lisbon. In commemoration of the restoration of King João VI of Portugal´s sovereignty rights, a new honorary mark of distinction was created, bearing his Royal Effigy on the obverse and the legend "Fidelidade ao Rei e à Pátria - 1823” (Fidelity to the King and Motherland) on the reverse, a decoration that would become the most popular insignia of his reign. The author reveals for the first time the documentation that supported the production of this medal at the Lisbon Mint, as well as the twin medal alluding to the "Heroica Fidelidade Transmontana - 1823" (Heroic Fidelity Transmontana), and their production statistics.

The amazing story of an obscure set of Australian WWI fundraising badges issued on ‘Suffering Nations Day’, December 7th 1917 for the Armenian, Serbian and Syrian Relief efforts.

Fundraising badges also called tinnies, pins or pin-backs were commonly referred to as ‘buttons’ and were issued across Australia by the Commonwealth Button Fund (CBF) to help raise funds for the war effort on designated ‘button days’

Symbolism of PCR testing: a global recapitulation of the Book of the Dead tradition? Insights from traditional health pentagrams: 5-dimensional scales? Potential imbalance in symbols of national integrity Design of a meaningful insignia of salvatory significance Traditional hindrances to health, wholth and integrity Global institutionalization of one-dimensional health vs Integral connectivity Insignia evocative of imaginative travel: the stargate metaphor References

In the later Middle Ages, traveling to sacred places and foreign courts promised honor, not least to residents of cities keen to advance their status within and beyond urban society. But the symbolic capital promised by travel had to be rendered recognizable. To this end, the inhabitants of German-speaking cities also relied on coats of arms and badges of chivalric orders, as this essay will show by looking at travel accounts, visual sources, and material remains. Analogous to noble customs, these signs were meant to record the presence of townsmen abroad and to commemorate their achievements as travelers once back in their hometowns. From town houses and church decorations to conspicuous dress, the urban space was filled with visual reminders of spatial mobility displayed for the purpose of social mobility. As it becomes clear that contemporaries were acutely aware of travelers’ ambitions, the heraldic and para-heraldic communication of travel emerges as a prominent and at times contested element of urban visual and material culture.

The medieval custom of wearing figurative insignias on hats and caps became widespread during the 14th century when the uses and functions of these elements diversified and personal devises or badges became fashionable. As such, at the end of the Middle Ages and at the beginning of the 16th century, these portable " emblems " became commonly used objects, with their application on clothing becoming more and more frequent. In the present work, we will address the existing reciprocal relationship between printed emblem collections and appliqués for hats and clothing, in the sense that both creations date back decades to the definitive decline of metallic insignias.

W artykule autor podjął analizę wprowadzenia  odznak i oznak jednostek 8. Flotylli Obrony Wybrzeża po 1989 roku, tekst i ilustracje/In the article, the author analyzed the introduction of badges and signs of the units of the 8th Coastal Defense Flotilla after 1989, text and illustrations

The paper is devoted to the royal insignia mentioned in the Russian literary texts and folklore of the 16th–17th centuries ― the cornelian box («serdolikovaja krabitsa»). According to the legend, it belonged to the Roman Emperor Octavius Augustus and, together with other imperial insignia was ceremonially presented to the Kiev Knyaz Vladimir Monomakh in the 12th century by the Byzantine Emperor. The cornelian box («serdolikovaja krabitsa») has not reached the present time. The research literature contains a disagreement on the characteristics of this object. Some researchers regard the box as a jewel box, others — as a bowl. The author considers the references of the «krabitsa» in the Inventories of tsars’s property of the 17th–18th centuries. It can be concluded that in the 17th century they named the jasper Bowl as «krabiza». In the 18th century this Bowl was known as the Vessel for ointment. It was used at the coronation of the Russian Emperors. In the Inventories of tsars’s property called of the beginning of the 18th century we find the term «krabitsa» in another context. The author supposes that it was the early medieval Reliquary. Later it was handed over to Kunstkamera end was painted in the 18th century. ******* Статья посвящена упоминаемой в памятниках русской письменности и фольклора XVI–XVII вв. царской инсигнии — сердоликовой крабице. В исследовательской литературе существует разногласие относительно характеристики этого предмета. Одни исследователи воспринимают крабицу как шкатулку, другие — как чашу. Автор рассматривает упоминания «крабицы» в описаниях царского имущества XVII–XVIII вв. Установлено, что в XVII в. крабицей называли чашу из яшмы. В XVIII в. эта чаша известна как сосуд для мира, который использовался при коронации русских императоров. В начале XVIII в. описи царского имущества называли «крабицей» другой предмет. В статье высказывается предположение, что это был раннесредневековый реликварий. Позднее он поступил в Кунсткамеру и известен нам по рисунку XVIII в.

On the author`s page:
https://www.academia.edu/35002605/%D0%A1%D0%B5%D1%80%D0%B4%D0%BE%D0%BB%D0%B8%D0%BA%D0%BE%D0%B2%D0%B0%D1%8F_%D0%BA%D1%80%D0%B0%D0%B1%D0%B8%D1%86%D0%B0_%D0%BC%D0%BE%D1%81%D0%BA%D0%BE%D0%B2%D1%81%D0%BA%D0%B8%D1%85_%D0%BA%D0%BD%D1%8F%D0%B7%D0%B5%D0%B9_XIV_XVI_%D0%B2%D0%B2._%D0%BA%D0%B0%D0%BA_%D1%86%D0%B0%D1%80%D1%81%D0%BA%D0%B0%D1%8F_%D0%B8%D0%BD%D1%81%D0%B8%D0%B3%D0%BD%D0%B8%D1%8F_Studia_Slavica_et_Balcanica_Petropolitana._2014._2_16_._%D0%A1._57_66
Статья посвящена упоминаемой в памятниках русской письменности и фольклора XVI–XVII вв. царской инсигнии — сердоликовой крабице. В исследовательской литературе существует разногласие относительно характеристики этого предмета. Одни исследователи воспринимают крабицу как шкатулку, другие — как чашу. В статье предлагается аргументация в пользу первого из этих предположений. Прослеживается история сердоликовой коробки (как ее называют источники) от поступления в казну Ивана Калиты в XIV в. до вручения в 1498 г. Иваном III Дмитрию-внуку и последующей утраты. В разряд царских инсигний крабица была включена в «Послании Спиридона-Саввы». Высказывается предположение, что «Послание» было написано в конце XV или в начале XVI в., но получило распространение после редакторской обработки в 20-е гг. XVI в. История текста «Послания» связывается с биографией видного общественного и церковного деятеля первой половины XVI в. Вассиана Патрикеева. Формулируется вывод, что ко времени распространения «Послания» в 20-х гг. XVI в. реальная крабица уже была утрачена, поэтому упоминание ее только в литературном тексте открывало широкие возможности для интерпретаций. *****  The paper is devoted to the royal insignia mentioned in the Russian literary texts and folklore of 16–17th centuries – the cornelian box («serdolikovaja krabitsa»). According to the legend, it belonged to the Roman Emperor Octavius Augustus and, together with other imperial insignia was ceremonially presented to the Kiev Knyaz Vladimir Monomakh in 12th century by the Byzantine Emperor. The cornelian box («serdolikovaja krabitsa») has not reached the present time. The research literature contains a disagreement on the characteristics of this object. Some researchers regard the box as a jewel box, others – as a bowl. The paper offers arguments in faviour of the first suggestion. The history gives facts about the «serdolikova krabitsa» or a box (in this way it was called in early sources), from the moment of its arrival to the treasury of Ivan Kalita at the beginning of 14th century to the act of its presentation in 1498 to Dmitri-the grandson by Ivan III and further loss of it. «Krabitsa» was included into the category of imperial insignia in the Epistle by the Lithuanian Metropolitan Spiridon Savva. It was presupposed that the Epistle was written in late XV or early XVI century, but was widespread after editorial refinement in the 1520s. The history of the Epistle text is connected with the biography of an outstanding public and clerical figure of the first half of 16th century Vassian Patrikeev. It can be concluded that by the time of spreading of the Epistle and compilation of other literary texts on its basis in the 1520s the real «krabitsa» had already been lost, thus, its mentioning only in the literary text opened great opportunities for interpretation.

MEDIEVAL PEWTER BADGES, decorated spoon bowls and parts of diadems are very rare finds in modern Poland, and have not featured prominently in academic study because many were not identified until recently. They were introduced during what is sometimes referred to as a ‘revolution’ in 13th-­century Silesia, when legal changes saw the reorganisation of society and its culture and encouraged an influx of settlers from Germany and Flanders. These artefacts provide rich information about complex cultural changes, informing us about how urban populations responded to influences that originated in western Europe.

The burial of Tutankhamun contained an assortment of 130 sticks and staves, placed within the Burial Shrines and throughout the Antechamber. Much debate surrounds the use and function of this particular assemblage: were they used by a crippled king during his lifetime, or were they perhaps placed within the burial for a ritualistic purpose? Scholars have yet to explore this particular stick and staff assemblage’s context within the New Kingdom. This paper seeks to understand how Tutankhamun’s sticks and staves were used and functioned within the 18th Dynasty. One question that will be explored includes exactly how do the sticks and staves of Tutankhamun compare to the non-royal assemblages of sticks and staves from the 18th Dynasty? To attempt to answer this question, and many others, the staff assemblage of Tutankhamun will be compared with contemporary representations of sticks and staves. These depictions come from private tomb scenes along with two and three dimensional artifacts related to sticks and staves, such as: decorated boxes, models sticks and staves, and statues holding staves. Tutankhamun’s sticks and staves will also be compared with stick and staff assemblages from intact, or nearly-intact, excavated tombs from Thebes. These cross-comparisons will attempt to show how Tutankhamun’s staves differ, if at all, from the sticks and staves of the nobility and lower classes.