Description
CHINESE DRAGON Mandala Art 3 Oz Silver Coin 10$ Fiji 2017 – This incredible 3 Oz Silver coin is the third issue in the “Mandala Art” series and features Chinese Dragon, the legendary creature of the Chinese mythology. The coin has a beautiful Ruby insert, has an Antique Finish quality and comes in an elegant case, along with the Certificate of Authenticity. Strictly limited mintage to only 500 pieces worldwide! The reverse of the coin depicts the highly intricate detailed Mandala design surrounding a Chinese Dragon. In the middle, a beautiful Ruby as heart of the coin. The obverse of the coin depicts the Fiji Coat of Arms and the inscriptions:
Product Description
MANDALA ART II – CHINESE DRAGON
2017 3 oz High Relief Silver Coin – Antique Finish with Ruby Gemstone
VERY LIMITED – 500 COINS WORLDWIDE!
SPECIAL FEATURES
- The third coin of a successful series
- Antique Finish
- 3 oz Fine Silver Coin
- High Relief with Ruby Gemstone (0.4cm in diameter)
- Rimless
- Serial Number engraved on rim of the coin
COIN STORY
The pure Silver 3oz coins are strictly limited to only 500 pieces worldwide and minted in special medalic High Relief technique featuring a precious RUBY gemstone and serial number on the edge. Furthermore, they impress with their various engraved details and the sophisticated handmade Antique Finish. A masterpiece of numismatic art!
MANDALA ART
What is a Mandala?
The meaning of mandala comes from Sanskrit meaning “circle.” It appears in the Rig Veda as the name of the sections of the work, but is also used in many other civilizations, religions and philosophies. Even though it may be dominated by squares or triangles, a mandala has a concentric structure. Mandalas offer balancing visual elements, symbolizing unity and harmony. The meanings of individual mandalas is usually different and unique to each mandala.
The mandala pattern is used in many traditions. In the Americas, Indians have created medicine wheels and sand mandalas. The circular Aztec calendar was both a timekeeping device and a religious expression of ancient Aztecs. In Asia, the Taoist “yin-yang” symbol represents opposition as well as interdependence. Tibetan mandalas are often highly intricate illustrations of religious significance that are used for meditation. From Buddhist stupas to Muslim mosques and Christian cathedrals, the principle of a structure built around a center is a common theme in architecture.
In common use, mandala has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.
Representing the universe itself, a mandala is both the microcosm and the macrocosm, and we are all part of its intricate design. The mandala is more than an image seen with our eyes; it is an actual moment in time. It can be can be used as a vehicle to explore art, science, religion and life itself.
Carl Jung said that a mandala symbolizes “a safe refuge of inner reconciliation and wholeness.” It is “a synthesis of distinctive elements in a unified scheme representing the basic nature of existence.”
CELTIC ART
The Celts were people in Iron Age and Medieval Europe who spoke Celtic languages and had cultural similarities, although the relationship between ethnic, linguistic and cultural factors in the Celtic world remains uncertain and controversial.
Celtic art is generally used by art historians to refer to art of the La Tène period across Europe, while the Early Medieval art of Britain and Ireland, that is what “Celtic art” evokes for much of the general public, is called Insular art in art history. Both styles absorbed considerable influences from non-Celtic sources, but retained a preference for geometrical decoration over figurative subjects, which are often extremely stylised when they do appear; narrative scenes only appear under outside influence. Energetic circular forms, triskeles and spirals are characteristic.
The interlace patterns that are often regarded as typical of “Celtic art” were in fact introduced to Insular art from the animal Style II of Germanic Migration Period art, though taken up with great skill and enthusiasm by Celtic artists in metalwork and illuminated manuscripts. Equally, the forms used for the finest Insular art were all adopted from the Roman world: Gospel books like the Book of Kells and Book of Lindisfarne, chalices like the Ardagh Chalice and Derrynaflan Chalice, andpenannular brooches like the Tara Brooch. These works are from the period of peak achievement of Insular art, which lasted from the 7th to the 9th centuries, before the Viking attacks sharply set back cultural life.
In contrast the less well known but often spectacular art of the richest earlier Continental Celts, before they were conquered by the Romans, often adopted elements of Roman, Greek and other “foreign” styles (and possibly used imported craftsmen) to decorate objects that were distinctively Celtic. After the Roman conquests, some Celtic elements remained in popular art, especially Ancient Roman pottery, of which Gaul was actually the largest producer, mostly in Italian styles, but also producing work in local taste, including figurines of deities and wares painted with animals and other subjects in highly formalised styles. Roman Britain also took more interest in enamel than most of the Empire, and its development of champlevé technique was probably important to the later Medieval art of the whole of Europe, of which the energy and freedom of Insular decoration was an important element. Rising nationalism brought Celtic revivals from the 19th century.
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