Michael Backman

Michael Backman Asian, Colonial & Tribal Antiques Gallery in central London, UK. All stock is sourced from old British and European collections.

Michael Backman Ltd, based in central London, just off Regent Street, has a large range of museum-quality Indian, Southeast Asian, Himalayan & other Asian antiques and decorative arts, as well as colonial and tribal antiques. We have sold around 100 items to around 20 international museums in the last five years, including to the Asian Art Museum in San Francisco, the British Library and the National Gallery of Australia. We sell to collectors worldwide too. We ship worldwide - in fact most clients are outside the UK, particularly in the US, Europe and Singapore. The website is very comprehensive and always up-to-date. Clients receive a monthly catalogue by email so that they are alerted to new stock as it arrives. There are almost 8,000 recipients of the emailed monthly catalogue worldwide.

14/10/2026

The new Museum of the Supreme Patriarch in Bangkok in the beautifully restored former official residence of the Supreme Patriarch has many fine examples of Thai material arts from silver to glassware to ceramics.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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This ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ fine early 20th century Gelede wooden headdress, carved from a single piece of wood, has a male human fac...
13/10/2026

This ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ fine early 20th century Gelede wooden headdress, carved from a single piece of wood, has a male human face, and most unusually, a hairstyle which seems based on the scales of a pangolin, a mammal covered with scales that is native to Nigeria. The mask is similar in this regard to one other example we have โ€“ both almost certainly are from the same workshop. (height: approximately 23cm, length: approximately 31cm, width: 22.7cm, weight: 1,050g))

The mask is carved with classical Yoruba facial features: heavy eyelids, bulgy almond-shaped eyes, a flared nose and compressed, full lips. The pupils and nostrils are roughly pierced with circular holes. Scarification lines (pele) are incised on both cheeks. Many communities in south-western Yorubaland regard scarification lines as โ€˜gemsโ€™ on the human face. The overall facial features exemplify authority, supremacy, rigour and calm โ€“ all necessary characteristics for a wise Yoruba elder.

The mask has been coloured with natural ochres.

The western Yoruba people practise the Efe/Gelede cult to celebrate the mystical power (ashe) of elderly women. Traditionally, they believe that older women possess power that can be used for creative or destructive purposes. The Gelede masked performance is a way of sustaining life through creating a social bond with the elderly women, who are generally referred to as โ€˜our mothersโ€™ (awon iya wa). By having pleased โ€˜our mothersโ€™, there will be peace in the community and the land will be blessed by rain and fertile soil.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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This ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ rare, large offering vessel in the shape of a bird and dating to around 1830 was used by wealthy Burmese ...
12/10/2026

This ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ rare, large offering vessel in the shape of a bird and dating to around 1830 was used by wealthy Burmese to carry offerings to a monastery โ€“ the offerings typically were for the monks, and so comprised food, betel, and the like. Also, such vessels were used to present offerings to the principal Buddha image in a shrine. They were laid out, usually in pairs, before the main Buddha image. (height: approximately 56.5cm, length (from beak to tail): approximately 42cm, diameter of base: approximately 29.5cm, weight: 4,460g)

It comprises a carved wooden substrate, that has been lacquered, gilded, and then inset with mirrored glass. The manner of the mirror inlay is likely to be earlier than many related examples. Partly, the vessel is decorated with raised and moulded lacquer designs known as thayo.

The interior is lacquered red.

The bird that the vessel is based on is more probably a karaweik or a hintha (sacred swan). The beak is more like that of a swan than a duck or goose.

The example here is in excellent condition.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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11/10/2026

A bust of Philippines revolutionary hero Jose Rizal in Cadiz, Spain.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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This superb beaker is an outstanding example of the heights to which colonial Indian silversmithing reached. Produced ar...
11/10/2026

This superb beaker is an outstanding example of the heights to which colonial Indian silversmithing reached. Produced around 1870 by the most celebrated of colonial Indian silversmiths, Oomersi Maji. ๐—ก๐—ผ๐˜„ ๐˜€๐—ผ๐—น๐—ฑ, ๐—ณ๐—ฟ๐—ผ๐—บ ๐—ผ๐—ป๐—ฒ ๐—ผ๐—ณ ๐—ผ๐˜‚๐—ฟ ๐—ฟ๐—ฒ๐—ฐ๐—ฒ๐—ป๐˜ ๐—บ๐—ผ๐—ป๐˜๐—ต๐—น๐˜† ๐—ฐ๐—ฎ๐˜๐—ฎ๐—น๐—ผ๐—ด๐˜‚๐—ฒ๐˜€.

It is double walled, with the outer wall being pieced with Kutch flower and leaf motifs along with representations of hunting scenes which includes elephants, lions and a man. Each piercing was cut out by hand using small saws and files, and the quality of this work is peerless, as is the chasing of the elephants and other figures.

The underside of the beaker shows an interesting manner of construction, and is stamped with a cameo punch with the initials โ€˜O.M.โ€™ and then with โ€˜BHUJโ€™ (the town in which Oomersi had his workshop).

Oomersi Mawji was the pre-eminent Indian silversmith of his time. Together with his sons, he established a workshop in Kutch around 1860, where the local Muslim rulers who had the title โ€˜Maharaoโ€™ were an important source of patronage. Today, pieces by Oomersi Mawji are keenly sought by collectors and museums worldwide.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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These two ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ 18th-19th century solid gold brooches known as medouar were used in Algeria by Arab women to pin tog...
08/10/2026

These two ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ 18th-19th century solid gold brooches known as medouar were used in Algeria by Arab women to pin together items of clothing. A small piece of the textiles would be pulled through the centre of the brooch and then secured by the pin as way of pinning them together.

Both are decorated with filigree and granulation work (with some traces of solder), and the gold in each tests at between 18 and 20 carats.

They are in fine condition. Each is heavy-in-the-hand on account of the purity and amount of gold used.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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07/10/2026

The British Museum has opened a new and large Membersโ€™ Room and filled it with dozens of items from Southeast Asia. Itโ€™s a great innovation. Items from Indonesia, Thailand, Malaysia, Borneo, the Philippines, and Burma currently are on display.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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This ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ splendid light-green nephrite jade, quatrefoil, segmented box and cover from 17th-18th century Mughal Ind...
06/10/2026

This ๐—ฎ๐˜ƒ๐—ฎ๐—ถ๐—น๐—ฎ๐—ฏ๐—น๐—ฒ splendid light-green nephrite jade, quatrefoil, segmented box and cover from 17th-18th century Mughal India is shaped as a four-petal flower. The walls are thin and delicate. It has been carved so that inside, it has four compartments. The exterior, on the cover and on the base, has been carved with Mughal flower motifs. Each petal lobe has been carved with a lily flower with leaves on each side. The base has been carved with a central flower motif and more lily motifs. The cover has a bud-like finial. The base is flat. (length: 8.3cm, width: 6.8cm, height: approximately 3.5cm, weight: 70g)

It is believed that most of these items were given by the Mughal court to local Islamic rulers in Central Asia and elsewhere and from there, were sent as tribute to the Chinese court during the reign of the Qianlong emperor (r. 1735 to 1796). This lead to a fashion among ruling circles in China for Mughal jades and it is likely that other examples were sent directly from India to China.

Most surviving Indian jade carvings belong to the Mughal period (1526-1858). Emperor Akbar and his successors were especially fond of jade which was fashioned by highly skilled artisans into boxes, bowls, cups, dagger hilts and so on. The jade (nephrite) was sourced from Khotan in Central Asia.

The jade walls of the example here have been cut so that they are remarkably thin and fine.

The fineness of better examples of Mughal jade items inevitably means that many, including examples in museums, have small chips and losses, and so it is with this example. There is a small chip to the edge of the cover. This has been filled with a clear resin and is stable.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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04/10/2026

A large silver elephant by Indiaโ€™s best known colonial silversmith, Oomersi Mawji. Featured in a recent monthly catalogue but now sold.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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This finely rendered and possibly unique spill vase is by Indiaโ€™s most celebrated colonial silversmith Oomersi Mawji and...
04/10/2026

This finely rendered and possibly unique spill vase is by Indiaโ€™s most celebrated colonial silversmith Oomersi Mawji and dates to around 1880. The silversmithing is exceptional and the conception is unique and whimsical. (height: 14.5cm, diameter: 8cm, weight: 214g). ๐—ก๐—ผ๐˜„ ๐˜€๐—ผ๐—น๐—ฑ, ๐—ณ๐—ฟ๐—ผ๐—บ ๐—ผ๐—ป๐—ฒ ๐—ผ๐—ณ ๐—ผ๐˜‚๐—ฟ ๐—ฟ๐—ฒ๐—ฐ๐—ฒ๐—ป๐˜ ๐—บ๐—ผ๐—ป๐˜๐—ต๐—น๐˜† ๐—ฐ๐—ฎ๐˜๐—ฎ๐—น๐—ผ๐—ด๐˜‚๐—ฒ๐˜€.

The vase is double-walled, with the outer layer being pierced and decorated with flowers and leaf motifs that are typical of Kutch silverwork. A snake is shown winding its way up the vase ready to pounce on an insect that rests on the rim of the vase. Possibly, the underlying silver wall is gilded.

Spill vases usually were kept on the mantelpiece over a fireplace and were filled with spills made from tightly rolled paper or wooden splinters that were used to transfer fire from the fireplace to lamps, candles, smoking pipes or ci**rs.

The interior of the base is stamped (faintly) with a cameo punch with the initials โ€˜O.M.โ€™ and then with โ€˜BHUJโ€™ (the town in which Oomersi had his workshop).

Oomersi Mawji was the pre-eminent Indian silversmith of his time. Together with his sons, he established a workshop in Kutch around 1860, where the local Muslim rulers who had the title โ€˜Maharaoโ€™ were an important source of patronage. Today, pieces by Oomersi Mawji are keenly sought by collectors and museums worldwide.

๐‘ด๐’Š๐’„๐’‰๐’‚๐’†๐’ ๐‘ฉ๐’‚๐’„๐’Œ๐’Ž๐’‚๐’
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๐—–๐—ผ๐—ป๐˜๐—ฎ๐—ฐ๐˜ ๐˜‚๐˜€ ๐—ฑ๐—ถ๐—ฟ๐—ฒ๐—ฐ๐˜๐—น๐˜†: ๐—ฎ๐—ฑ๐—บ๐—ถ๐—ป@๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ

๐—ฉ๐—ถ๐˜€๐—ถ๐˜ ๐—ผ๐˜‚๐—ฟ ๐˜„๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ. ๐—ช๐—ฒ๐—ฏ๐˜€๐—ถ๐˜๐—ฒ ๐—น๐—ถ๐—ป๐—ธ ๐—ถ๐—ป ๐—ฏ๐—ถ๐—ผ.

๐˜„๐˜„๐˜„.๐—บ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฒ๐—น๐—ฏ๐—ฎ๐—ฐ๐—ธ๐—บ๐—ฎ๐—ป๐—น๐˜๐—ฑ.๐—ฐ๐—ผ๐—บ
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