#goldweights
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tyyy13.bsky.social
KISS GOLD Weights Dumbbells Set, Adjustable Dumbbell Sets 22Lbs 44Lbs 66Lbs 88Lbs with Solid Steel, Barbell Free Weight Set with Connector Workout Home Gym Equipment for Men Women Strength Training Shaping #homegym #steelweights #goldweights #dumbbells
KISS GOLD Weights Dumbbells Set, Adjustable Dumbbell Sets 22Lbs 44Lbs 66Lbs 88Lbs with Solid Steel, Barbell Free Weight Set with Connector Workout Home Gym Equipment for Men Women Strength Training Shaping
www.amazon.com
November 7, 2026 at 3:46 AM
seb18.bsky.social
KISS GOLD Weights Dumbbells Set, Adjustable Dumbbell Sets 22Lbs 44Lbs 66Lbs 88Lbs with Solid Steel, Barbell Free Weight Set with Connector Workout Home Gym Equipment for Men Women Strength Training Shaping #weights #gym #steelweights #exercise #homegym #goldweights
KISS GOLD Weights Dumbbells Set, Adjustable Dumbbell Sets 22Lbs 44Lbs 66Lbs 88Lbs with Solid Steel, Barbell Free Weight Set with Connector Workout Home Gym Equipment for Men Women Strength Training Shaping
www.amazon.com
November 7, 2026 at 4:53 PM
lincolnjoao.bsky.social
KISS GOLD Weights Dumbbells Set, Adjustable Dumbbell Sets 22Lbs 44Lbs 66Lbs 88Lbs with Solid Steel, Barbell Free Weight Set with Connector Workout Home Gym Equipment for Men Women Strength Training Shaping #exercise #homegym #fitness #steelweights #adjustableweights #goldweights
KISS GOLD Weights Dumbbells Set, Adjustable Dumbbell Sets 22Lbs 44Lbs 66Lbs 88Lbs with Solid Steel, Barbell Free Weight Set with Connector Workout Home Gym Equipment for Men Women Strength Training Shaping
www.amazon.com
November 6, 2026 at 5:30 AM
bigearthdata.ai
Peter Espeut | Slavery and chattel slavery
->Jamaica Gleaner | More on "African gold trade and slavery" at BigEarthData.ai | #slavery #human trafficking
Peter Espeut | Slavery and chattel slavery
I recommend that you watch the video recording of a seminar by John Shorter, held Thursday (October 8) by the African-Caribbean Institute of Jamaica/Jamaica Memory Bank titled ‘Asante Goldweights and Slavery’. It is an excellent lecture by a young academic outlining the extraction and trade in gold in what today is called Ghana (then called “The Gold Coast”). It may be viewed on YouTube at: https://www.youtube.com/live/LBFJnED9mDg. I found the talk most enlightening, and I hope you enjoy these short extracts which I have transcribed. “Before Europeans arrived at the start of the 16th century, or the Asante Empire centralized in the late 17th century, Akan-speaking states in the sub-Saharan rainforest of present-day Ghana traded gold mined from deep shafts and alluvial deposits panned from riverbeds. … “Control over these incredibly auriferous basins fuelled the rise of regional powers, culminating in the formation of the Asante Empire at the start of the 18th century. Gold-rich tropical rainforest areas such as Adanse and Amansee have mining traditions stretching back thousands of years and represent the cradle of Akan civilisation. “The Asante maintained strong religious taboos against mining, however, so consequently, enslaved people typically purchased from northern markets such as Bonduku, Wagadugu, Salaga...
jamaica-gleaner.com
October 16, 2026 at 3:11 PM
danielwaweru.bsky.social
Appiah on his mother’s goldweights:
In our house, my mother was visited regularly by Muslim Hausa traders from what we called (in a phrase that struck my childhood ear as wonderfully mysterious, exotic in its splendid vagueness) "the North." These men knew she was interested in seeing and, sometimes, in buying the brass weights the Asante had used for weighing gold; goldweights they had collected from villages all over the region, where they were being sold by people who had no use for them anymore, now that paper and coin had replaced gold dust as currency. And as she collected them, she heard more and more of the folklore that went with them; the proverbs that every figurative goldweight elicited; the folktales, Ananseasem, that the proverbs evoked. My father told us these Ananse stories, too, some of them picked up when he was a political prisoner under Nkrumah (there was little else to do in prison but spin yarns). Between his stories and the cultural messages that came with the goldweights, we gathered the sort of sense of a cultural tradition that comes from growing up in it. For us it was not Asante tradition but the webwork of our lives. We loved the stories—my sisters now read the ones that my mother has published to my nephews in Gaborone and in Lagos; my godchildren read them here in America-and we grew to love the goldweights and the carvings that the traders brought. From vii-viii of Appiah’s “In My Father’s House”
August 24, 2026 at 9:40 PM
aicafricanart.bsky.social
Goldweight Depicting a Pyramid Surmounted by Spiral https://www.artic.edu/artworks/53980/
The Akan used the lost-wax technique to create these brass-cast weights for economic transactions involving gold. Although it is not clear when the convention of weights was first introduced, there is evidence that the Akan people traded gold with Islamicized merchants from the West African interior grasslands many centuries before the arrival of Europeans. Some goldweights correspond to the Islamic weight system of North Africa, and appear to be fundamentally linked to the trans-Saharan trade, in which Arabs were deeply involved. Stylistic studies of goldweights have yeilded relative dates for these works that can be divided broadly into early and late periods. Abstract goldweights, such as this stepped pyramid motif, are assigned to sometime between 1500 and 1720. The cast, upright spiral that embellishes the weight's summit, is unusual. Precise interpretations of such abstract patterns remain conjectural, but a few have parallels in archiectural and textile design, where their meanings can be more readily discerned. Gift of the Britt Family Collection
August 17, 2026 at 10:57 AM
aicafricanart.bsky.social
Goldweight Depicting a Catfish https://www.artic.edu/artworks/25062/
The Akan used the lost-wax technique to create brass-cast weights for economic transactions involving gold. Although it is not clear when the convention of weights was first introduced, there is evidence that the Akan people traded gold with Islamized merchants from the West African interior grasslands many centuries before the arrival of Europeans. Some goldweights correspond to the Islamic weight system of North Africa, and appear to be fundamentally linked to the trans-Saharan trade, in which Arabs were deeply involved.Stylistic studies of goldweights have yielded relative dates for these works that can be divided broadly into early and late periods. Abstract goldweights are assigned to sometime between 1500 and 1720. Akan artists also employed an assortment of figurative motifs in executing such miniature brass castings. These forms, which are less common than the abstract weights and are remarkably ornate, appear to have been modeled in the period of hegemony of the Asante kingdom, from 1700 through 1874. Regardless of weather the figures are single or part of a larger composition, their intention seems to have been to communicate a message of a collective or personal nature. This catfish goldweight may evoke the following saying: “If the catfish [mudfish] in the stream grows fat, it does so to the benefit of the crocodile,” which means the master always stands to benefit from the servant’s prosperity. However, given the fact that here the catfish is depicted alone and not with the crocodile, another meaning may have been intended. The well-known capacity of this fish type to survive the most arid conditions may suggests its symbolic implications for longevity. —Revised from Nii Otokunor Quarcoopome, “Art of the Akan,” African Art at the Art Institute of Chicago, Museum Studies, 23, no. 2 (1997), p. 144. Gift of Alfred Wolkenberg
August 16, 2026 at 9:26 AM
newchoice.blacksky.app
Maybe of interest to you

My sister in-law from Togo is selling the collection of my late father in-law who collected unique and antique pieces of African art mainly from West Africa. Please check out the homepage or DM for more details. www.kunst-aus-westafrika.com/shop
Shop — KUNST AUS WESTAFRIKA
AFRIKANISCHE KERAMIK/ AFRICAN CERAMIC SKULPTUREN AUS HOLZ / WOODEN SCULPTURES ASAFO FAHNEN / ASAFO FLAGS AFRIKANISCHE HOCKER / AFRICAN STOOLS AKAN GOLDGEWICHTE / GOLDWEIGHTS PERLENARBEI...
www.kunst-aus-westafrika.com
January 14, 2025 at 1:33 PM
dutchdesignheroes.com
Similar, perhaps.
Akan goldweights - Wikipedia
en.m.wikipedia.org
July 13, 2025 at 5:04 PM
ssnowsball.bsky.social
Trisome? Ah you thought something original... grin grin
Akan, Asante, Brass, Ashanti, Ghana.
3-man Akan gold weight Akan goldweights, (locally known as mrammou), are weights made of brass used as a measuring system by the Akan people of West Africa
#ghana #man #naked #dick
November 24, 2024 at 3:02 PM
charlayn.eurosky.social
Have you ever seen Akan gold weights used in West Africa?
en.wikipedia.org/wiki/Akan_go...
Akan goldweights - Wikipedia
en.wikipedia.org
May 16, 2026 at 12:22 PM
zaswadosaze.bsky.social
africa
From intricately crafted jewellery and ceremonial regalia to the famous goldweights once used to measure gold dust, the artisans of present day Ghana and Côte d’Ivoire developed some of Africa’s most sophisticated metalworking traditions.
July 1, 2026 at 4:54 PM
aicafricanart.bsky.social
Goldweight Depicting a Monkey https://www.artic.edu/artworks/93816/
The Akan used the lost-wax technique to create brass-cast weights for economic transactions involving gold. Although it is not clear when the convention of weights was first introduced, there is evidence that the Akan people traded gold with Islamized merchants from the West African interior grasslands many centuries before the arrival of Europeans. Some goldweights correspond to the Islamic weight system of North African, and appear to be fundamentally linked to the trans-Saharan trade, in which Arabs were deeply involved.Akan artists employed an assortment of figurative motifs in executing such miniature brass castings. These forms, which are less common than the abstract weights and are remarkably ornate, appear to have been modeld in the period of hegemony of the Asante kingdom, from 1700 to 1874. Humans and animals appear as solitary forms, but there are also narrative compositions. Regardless of whether the figures are single or part of a larger compositon, their intention seems to have been to communicate a message of a collective or personal nature.Animal forms expand the subgenre of proverbial images. Each motif is invested with philosophical meaning. Thus this monkey goldweight may evoke the following saying: "The monkey says, 'if you fill my cheeks with food, then I shall reveal the truth and tell you,'" which suggests that truth-speaking may be conditioned by well-being.–Revised from Nii Otokunor Quarcoopome, “Art of the Akan,” African Art at the Art Institute of Chicago, Museum Studies, vol. 23, no. 2 (1997), pp. 135-147. Restricted gift of Mr. and Mrs. Raymond Wielgus
June 11, 2026 at 12:49 PM
aicafricanart.bsky.social
Goldweight Depicting a Man with a Pipe and a Powder Keg https://www.artic.edu/artworks/58434/
The Akan used the lost-wax technique to create brass-cast weights for economic transactions that involved gold. Stylistic studies of goldweights have provided rough dates for the creation of these works. Abstract goldweights are assigned to sometime between 1500 and 1720. Akan artists also created a variety of figurative motifs in executing such miniature brass castings. These forms, which are less common than the abstract weights and are remarkably ornate, appear to have been modeled in the period of hegemony of the Asante kingdom, from 1700 through 1874. Humans and animals appear as solitary forms, but there are also narrative compositions. Regardless of whether the figures are single or part of a larger composition, their intention seems to have been to communicate a message of collective or personal nature. This weight in the form of a warrior or hunter with a gun, carrying a keg of gunpowder and smoking a pipe, is a classic didactic figure that can be interpreted variously. The imagery is often said to encapsulate the following proverb: “Even in time of trouble we still need to enjoy the little pleasures of life.” Yet, the work could also be urging prudence in all social action in the same way as another proverb–ogya ne atuduru nna (fire and gunpowder do not sleep together)–suggests that a lack of circumspection can have dangerous consequences. This goldweight graphically conveys the foolishness of smoking so close to a medium as volatile and flammable as gunpowder. But the image, thus interpreted, may glamorize nonchalance, for the capacity to do the unthinkable can become a metaphor of power.–Revised from Nii Otokunor Quarcoopome, “Art of the Akan,” African Art at the Art Institute of Chicago, Museum Studies, vol. 23, no. 2 (1997), pp. 135-147. Gift of Mr. and Mrs. Philip Pinsof
May 18, 2026 at 6:30 PM
aicafricanart.bsky.social
Goldweight Depicting a Monkey https://www.artic.edu/artworks/93816/
The Akan used the lost-wax technique to create brass-cast weights for economic transactions involving gold. Although it is not clear when the convention of weights was first introduced, there is evidence that the Akan people traded gold with Islamized merchants from the West African interior grasslands many centuries before the arrival of Europeans. Some goldweights correspond to the Islamic weight system of North African, and appear to be fundamentally linked to the trans-Saharan trade, in which Arabs were deeply involved.Akan artists employed an assortment of figurative motifs in executing such miniature brass castings. These forms, which are less common than the abstract weights and are remarkably ornate, appear to have been modeld in the period of hegemony of the Asante kingdom, from 1700 to 1874. Humans and animals appear as solitary forms, but there are also narrative compositions. Regardless of whether the figures are single or part of a larger compositon, their intention seems to have been to communicate a message of a collective or personal nature.Animal forms expand the subgenre of proverbial images. Each motif is invested with philosophical meaning. Thus this monkey goldweight may evoke the following saying: "The monkey says, 'if you fill my cheeks with food, then I shall reveal the truth and tell you,'" which suggests that truth-speaking may be conditioned by well-being.–Revised from Nii Otokunor Quarcoopome, “Art of the Akan,” African Art at the Art Institute of Chicago, Museum Studies, vol. 23, no. 2 (1997), pp. 135-147. Restricted gift of Mr. and Mrs. Raymond Wielgus
February 22, 2026 at 1:07 PM
aicafricanart.bsky.social
Goldweight Depicting a Pyramid Surmounted by Spiral https://www.artic.edu/artworks/53980/
The Akan used the lost-wax technique to create these brass-cast weights for economic transactions involving gold. Although it is not clear when the convention of weights was first introduced, there is evidence that the Akan people traded gold with Islamicized merchants from the West African interior grasslands many centuries before the arrival of Europeans. Some goldweights correspond to the Islamic weight system of North Africa, and appear to be fundamentally linked to the trans-Saharan trade, in which Arabs were deeply involved. Stylistic studies of goldweights have yeilded relative dates for these works that can be divided broadly into early and late periods. Abstract goldweights, such as this stepped pyramid motif, are assigned to sometime between 1500 and 1720. The cast, upright spiral that embellishes the weight's summit, is unusual. Precise interpretations of such abstract patterns remain conjectural, but a few have parallels in archiectural and textile design, where their meanings can be more readily discerned. Gift of the Britt Family Collection
January 4, 2026 at 9:21 AM
aicafricanart.bsky.social
Goldweight Depicting a Pyramid Surmounted by Spiral https://www.artic.edu/artworks/53980/
The Akan used the lost-wax technique to create these brass-cast weights for economic transactions involving gold. Although it is not clear when the convention of weights was first introduced, there is evidence that the Akan people traded gold with Islamicized merchants from the West African interior grasslands many centuries before the arrival of Europeans. Some goldweights correspond to the Islamic weight system of North Africa, and appear to be fundamentally linked to the trans-Saharan trade, in which Arabs were deeply involved. Stylistic studies of goldweights have yeilded relative dates for these works that can be divided broadly into early and late periods. Abstract goldweights, such as this stepped pyramid motif, are assigned to sometime between 1500 and 1720. The cast, upright spiral that embellishes the weight's summit, is unusual. Precise interpretations of such abstract patterns remain conjectural, but a few have parallels in archiectural and textile design, where their meanings can be more readily discerned. Gift of the Britt Family Collection
November 22, 2025 at 12:22 PM
aicafricanart.bsky.social
Goldweight Depicting a Man with a Pipe and a Powder Keg https://www.artic.edu/artworks/58434/
The Akan used the lost-wax technique to create brass-cast weights for economic transactions that involved gold. Stylistic studies of goldweights have provided rough dates for the creation of these works. Abstract goldweights are assigned to sometime between 1500 and 1720. Akan artists also created a variety of figurative motifs in executing such miniature brass castings. These forms, which are less common than the abstract weights and are remarkably ornate, appear to have been modeled in the period of hegemony of the Asante kingdom, from 1700 through 1874. Humans and animals appear as solitary forms, but there are also narrative compositions. Regardless of whether the figures are single or part of a larger composition, their intention seems to have been to communicate a message of collective or personal nature. This weight in the form of a warrior or hunter with a gun, carrying a keg of gunpowder and smoking a pipe, is a classic didactic figure that can be interpreted variously. The imagery is often said to encapsulate the following proverb: “Even in time of trouble we still need to enjoy the little pleasures of life.” Yet, the work could also be urging prudence in all social action in the same way as another proverb–ogya ne atuduru nna (fire and gunpowder do not sleep together)–suggests that a lack of circumspection can have dangerous consequences. This goldweight graphically conveys the foolishness of smoking so close to a medium as volatile and flammable as gunpowder. But the image, thus interpreted, may glamorize nonchalance, for the capacity to do the unthinkable can become a metaphor of power.–Revised from Nii Otokunor Quarcoopome, “Art of the Akan,” African Art at the Art Institute of Chicago, Museum Studies, vol. 23, no. 2 (1997), pp. 135-147. Gift of Mr. and Mrs. Philip Pinsof
November 19, 2025 at 10:13 AM