#beading as a more commonly practiced art

[audreydoeskaren]

Abridged History of Qing Dynasty Han Women’s Fashion (part 5: Late Qianlong & Jiaqing eras)

(artwork from 1782)

Previous posts:

Late Ming & Shunzhi era

Kangxi era

Late Kangxi & Yongzheng eras

Qianlong era

The last two decades of the Qianlong era, the 1780s and 90s, formed one aesthetic continuity with the reign of Qianlong’s successor Jiaqing (1796-1820). This period was characterized by a turn to extreme formal simplicity and what I believe to be a revival of the tastes of the Ming-Qing transition.

We see sleeves of women’s robes, tight fitting and short to create a practical look in the previous era, become wider and longer. The folded cuff design was retained, though now more difficult to manage as the sleeves became wider. In the last post I discussed how the construction of dajin similar to Manchu men’s fashion became en vogue among Han women and replaced the earlier center front closing robes----this remained the same. We see some of the first instances of binding strips being used around the collar and the dajin, which would become a highly popular and elaborate craft later in the 19th century. Around this time, the binding strips used were usually thin and minimal, commonly of a black color. Plain cloth or bead tip buttons were popularized earlier in the Qianlong era, and metal clasp buttons (zimukou) became increasingly rare. The shape of the standing collar remained the same as that of previous centuries, soft, unstiffened and tall.

Artwork from 1796 showing a group of courtesans. You can see the black binding on some of their robes. A note about the dating of this artwork: while it’s quite a common reference image for Jiaqing era fashion, I wasn’t able to find an exact date until I read about it in the book Pictures for Pleasure and Use by James Cahill (spectacular book discussing the importance of vernacular and commercial art, highly recommend) and he said the date of creation was signed in the cyclical calendar and corresponds to either 1736 or 1796. He was inclined to 1736 because of “similar face shapes” or something to Yongzheng era artworks, but since he wasn’t a fashion historian he probably wasn’t aware that the fashions depicted here would not have been possible before the 1780s, so I think 1796 is instead the correct date.

Late Qianlong/early Jiaqing era artwork, showing two austerely (and fashionably) dressed women.

The more radical departure from the previous era, however, was the complete eradication of ornament. Robes and skirts of this era were often entirely plain, with no brocaded patterns or embroidery of any kind. Gone were the roundel patterns, quatrefoil motifs on collar facings and decorative strips around skirts----only solid color blocks remained. Pastel colors like light pink, blue and green were among the most popular for robes besides bright blue and red, whereas skirts were white or black.

Late Qianlong/early Jiaqing era paintings of the Anglo-Chinese school showing the new style of plain garments.

Artwork from the era showing a woman in a light mustard robe with dusty pink cuffs, white skirt and red sash (sashes were still commonly worn).

The other significant changes happened in hairstyling. The 1780s did away with the iconic tall knots of the earlier Qianlong era, instead moving the mass and volume of hair toward the back. We see the re-emergence of the swallow tail. The front of the hair could be middle parted or completely pulled back. Flowers and other ornaments could be worn on the sides of the hairdo, behind the ears. The general shape of hairstyles stressed horizontality rather than verticality, as was the case before.

A 1943 copy of a turn of the 19th century original, showing the front and back of hairstyles.

Bust portrait showing the new hairstyle.

A unique hair accessory of the 1780s and 90s was a new iteration of the mo’e, which now had a sharply pointed triangular front and was worn high on the head instead of at the forehead. I think it became less common as the 19th century approached.

Export artwork showing a woman musician, likely 1770s or 80s as she is still wearing the ornamented, center front closing robes popular in previous decades.

Minimalism was not to last long, however, and soon decorative patterns began to reappear on robes, sleeve cuffs and skirts. Hairstyles began to gain volume and became more puffed, forming a sort of face framing crown. New styles of decorating skirts appeared, with binding going around the qunmen and the edge of each pleat, and embroidery on each individual pleat. The rectangular or circular patterned patch popular prior to the 1780s returned.

Early 19th century export painting at the Brighton Pavilion, maybe 1810s. We can see roundel patterns on the blue robe, embroidery on the cuffs and skirt, and the lady in red wears a pointed mo’e.

Presumably later Jiaqing era artwork, ca. 1810s, showing a group of women. Floral embroidery is present on the sleeve cuffs, the skirts are decorated.

#abridged history of qing dynasty han women's fashion #18th century #19th century #qianlong era #jiaqing era #qing dynasty #chinese fashion #fashion history #regency era

[donsgraveyard]

I have never considered Jade and Nightwolf but I am not invested, what type of activities do they do together, do Jade and Kiba get along, and just like any general thoughts you have about them?

YOU!! THANK YOU!!

Activities that they commonly do together is like training and sparing!! Jade has always been pretty fascinated with Nightwolf’s powers and abilities and Nightwolf admires how gracefully Jade can make fighting seem… and they both just like to stay fresh and fit. It’s also common practice to show each other how to do combat using each other’s respective weapons

Also lots of story times !! Nightwolf is an excellent story teller and Jade could listen to his gentle voice for hours and hours and she never strays away from telling Nightwolf how she feels about his voice… Jade has lived a long, long time and loves to recall joyful memories and Nightwolf is more then happy to see and hear the joy on Jades face and in her voice when she tells him about old times..

I find that Jade and Nightwolf are both creative people and enjoy doing any form of art together like Nightwolf would love to show Jade how to make bracelets and bead earrings and Jade would love it if Nightwolf would let her paint him (which she totally has)

Jade and Kiba definitely get along!! Kiba is like howling and running in circles when she sees Jade because she’s reflecting how excited Nightwolf is to see Jade

#Thank you for asking me about them… I wanna draw them now…. #Mk #jade #nightwolf #jadewolf #still can’t think of a better ship name

[brewmoo]

Lailean :||: A World of Warcraft Character Sheet

A Character Sheet specifically designed around the online MMORPG, World of Warcraft.

BASIC

The most basic of character information for your World of Warcraft Character.

Characters Name: Lailean Hualing ae'Chunolo Uhyona

Meaning: Blossom of Winter Firespirit Daughter of Chunolo Palehorn

Pronunciation: Lie-lean Who-ah-ling ay-Chew-no-lo Oo-he-yo-nah

Characters Aliases/Pseudonyms: None that she’s aware of, yet

Nicknames: Lilly, this is both her nickname and her childhood/family name.

Alternate Names: Brewmaster Lailean

Character Age: 35

Birth Date: January 21st

Real Life Zodiac: Capricorn/Aquarius cusp 

Character Race: Shu’halo/Yuangol || Tauren/Yuangol

Tribe/Clan: Palehorn birth, presently a member of the Stonewind Tribe

Faction Allegiance(s): She primarily claims the Brewmasters of Pandaria as a faction in and of themselves, being one herself and earning her title by Rite of Brew

Characters Nature: Bon Vivant

Reason(s): Try to enjoy life as long as it lasts. Your strength is your love of life. || Enjoying life to its fullest and seeking new adventure has always been Lailean’s primary goal above all else, even in her pursuit of building a brewery for her brews

Character Demeanor: Celebrant

Reason(s):  Take great joy out of your passion. Your strength is your passion. || Lailean takes great joy in her endeavors. From her martial arts to her brewing she seeks sharing it with others.

Characters OOC Class: Monk

IC Class: Fireweaver Monk

How/Why: Lailean is half Yuangol and has a way with fire because of that heritage. It just made sense to give her more of a firebender style to her fighting and class.

Theme: Vagabond - MisterWives; Hopeless Wanderer - Mumford and Sons; Move Mountains - Carol and Tuesday Vo. Alisa

Meaning: Between both Vagabond and Hopeless Wanderer there’s a representation of her wandering nature. She has spent many years traveling Azeroth and mostly only returned to her family to visit for a few days, maybe a week, at a time before she was off again. Move Mountains represents her dedication to her family, as well as those she holds close. 

PHYSICAL

The physical attributes for your World of Warcraft Character.

At a Glance: Lailean is a tall shu’halo, standing on par with most bulls. Well built and strong of stature she holds herself with a martial artist's practiced grace. She dresses in pandaren style clothing, and has dark fur with pale horns and hooves. Her horns are close to her head, framing her face. Her hair is thick and curly, usually held back by a jade colored bandana. A pair of jade serpents encircle her arms from the base of her spine all the way to the backs of her hands.

Description:  Lailean stands at roughly the same height as your average shu’halo bull. Which, for most cows, is fairly tall. She is muscular with lithe well worked muscles, belying a grace that she holds for such a stature. Vibrant blue eyes peer from dark brown fur speckles with gray almost freckles and slight splotches in her stomach and hip region. Mousey brown hair is cut shorter, thick with curls and commonly held down by a silken jade hair bandana. On either side of her face, framing it, locks of hair are held in place by carved jade orbs. Pale white horns grace her head, curling to frame her face in a pleasing way. A longer tail ends in a thicker, curlier tuft of hair, adorned by a simple hammered gold band. A pair of jade serpent dyed tattoos spiral around both arms, the tail starting at the base of her spine just above her hips and the snout ending on the back of her hands. It emanates a semi-permanent enchantment. 

She dresses in simple, loose pandaren styled clothing that suits her figure, maintaining an ability to be mobile for her fighting style while also keeping her arms free of dangling bits that could get in the way of her fire weaving. A simple beaded jade bracelet wraps around her left wrist. Her raven feather, the connection to her Tribe, is tied into her hair on her right side. She is ambidextrous, and often smells of malt, oranges, and hops.

Physical Marring(s): As described, a pair of jade serpent dyed tattoos encircle her arms with the tail starting at the base of her spine just above her hips and the snout ending on the back of her hands.

Importance: Her primary fighting style is taken from the Jade Serpents style, being a martial artist that merges her fire weaving into her combat skills. This shows her connection, as well as an honoring of the Jade Serpent.

Armor: She does not wear armor

Clothing Choice: She prefers to dress in simpler outfits, typically of pandaren make and style.

Jewelery or Additional: A simple beaded jade bracelet around her left wrist, occasionally a matching beaded jade necklace will join it. A simple hammered gold band wraps around her tail in a more narrow section. Her hair is held down by a jade colored silken headband, as well as locks of hair on either side of her face, framing it, being adorned by carved jade spheres.

Voice: Low, almost bassy, with a lilting tone. She always seems to have a laugh in her voice, ready to bubble up. She doesn’t speak in a traditional shu’halo manner, blending words together and using contractions over using the whole words. (This may or may not bug her mother sometimes, and comes from the pandaren language)

Voice Claim: Estelle

Stats: Stats that stand out strongly for your character. Listed below is a place for D&D style ability scores. You can put here reasons why one or two stand out more than others, and where others might not stand out as much.

Strength: 17 (+2)

Dexterity: 17

Constitution: 19 (+1)

Wisdom: 13

Intelligence: 10

Charisma: 12

MENTAL

The personality and quirks behind your character.

Personality Rundown: Lailean is a bright ball of sunshine and smiles. Always ready to laugh more than frown. She can be serious when she needs and wants to be, but generally likes to try and be the life of the party.

In Depth Look: Lailean is like a fire. Bright. Warm. Welcoming. However, should you do anything to harm herself or others she will burn you. Enthusiastic and cheerful Lilly has an ease with communicating with others. Her optimism can become infectious, and her wisdom shines through in her decisions as well as her thoughts. She has good enough social skills to make more friends than enemies, and has a viewpoint of friends are better in every count than making enemies of people who could be friends. Friendly doesn’t necessarily mean blindly trusting, though. She has traveled through Azeroth enough to know that you can’t trust every being you meet, and not everyone is out to be your friend. She has several passions in her life. Her family plays a very important role in her choices, as well as her values. Her brewing is something she has dedicated the better part of ten years to, and she adores everything to do with it. From sprouting plants for flavors to the way the yeast is cultivated to the manner in which each drink is brewed, she could chat your ears off about it. She is a practiced martial artist, and she takes pride in her forms and dedication to the style of the Jade Serpent in her fire manipulations. She has traveled here, there and everywhere across Azeroth, and loves to tell stories of her journeys. 

Strengths: Cheerful optimism and enthusiasm

Weaknesses: While cheery optimism is something that is a strong point for her, she does struggle to control her anger when her boundaries have been crossed. Her enthusiasm can also get the better of her in many ways.

Likes: She loves warm colors and shades. She loves spicy foods, and goes for those more often than not. She loves to travel and share her travels with others. Her family. Her friends. Brewing. Learning more about brewing. 

Dislikes:  There isn’t a lot that she truly dislikes, but she absolutely loathes the cold. Rudeness, a lack of care for others, or even a general disdain for being friendly are all things she has beef with towards others. Behaviors in others tend to be the things that she most dislikes.

Favorites: The color red, firewater, traveling with friends or family, calm sunny days where she can bask in the warmth

Quirks: Much to her mothers annoyance she blends words together where there normally wouldn’t be contractions. She uses “I’m, I’ll, I’ve” and those kinds of words. Taken from the Pandaren language over Taur-ahe. 

Ticks: She taps her fingers when in thought.

Alignment: Neutral Good

Hobbies: Brewing! Dabbling in cooking and herbalism on the side

Habits: Bad or good, habits are a few things that some people like to emphasize.

Interests: She is super into brewing, and legitimately would dedicate all her time to it if she could. Traveling, and listening to others travels as well 

Phobias: Nothing that she’s aware of

Outlook/Philosophy: Don’t go seeing raindrops on a sunny day. Why make a problem where there are none? There’s nothing wrong with finding joy in the simple things. 

HERITAGE

Information about where your character comes from. Their family, their history, their pets or other companions.

Mother: Taeana Palehorn

Relationship: She’s a bit of a mama’s girl, and adores her mama. 

Father: She has two! The one who raised her, Chunolo, and her biological father Khar’huk

Relationship: She was close as a child to Chunolo, but after he passed she had to step up to be the bright light in the family after his loss. She’s still a little unsure about her biological father, but wants to be close with him or at least get to know him better. She cares about family a lot and wants to develop those bonds.

Siblings: She has three siblings! Nalenen is her oldest sister, still younger than herself, and is a half sibling with Chunolo being her birth father. She has Tawa and Amka, her two youngest sibs being a boy and girl respectively. Both Tawa and Amka are her full siblings.

Relationship(s): Her relationship with Nally was strained for some time, with her having to step up the way she did after Chunolo’s passing and Nally becoming a teenager when Lilly started her traveling. She loves Nally all the same, and adores all three of her siblings. 

Additional Family: Several of the Brewmasters who helped her in her Rite of Brew, as well as those that in general taught her about brewing. Paukala Ravenscall is someone she considers close as family over the years.

Pets: No pets yet!

Mounts: Here’s where the animal situation gets tricky… She has a riding Yak as well as a Jade Cloud Serpent. 

Details: Ehe’tahl is her Cloud Serpent, and he has an ability to shift between the small Cloud Serpent form as well as the large, mount form. 

Childhood: Her childhood was a fairly standard Shu’halo childhood. She traveled with her family, and spent time with her tribe. She was incredibly excited with the birth of her baby sister, and loved spending time with Nalenen at every opportunity. She took to helping take care of her sister easily, helping with both her parents.

Teenhood: With the loss of her father, Chunolo, she had to really step up to be the support her family needed. During her mother and sisters depressive states, she did her best to take care of her family and care for them with unerring cheerfulness, even to the detriment of her own heartache. For a very long time she didn’t allow herself to feel sad at the loss of her father, and when she had to step up she stepped up hard.

Adulthood: The better part of the last ten years, her early adulthood, has been dedicated to the traveling of Azeroth and beyond. When she was told the truth, that Chunolo wasn’t actually her birth father and she wasn’t full Shu’halo, there was a lot of bitterness and heartache that she finally let herself feel. She fell into her own depression at this point, but instead of letting it bog her down she dove into learning as much as she could and fighting back against the darkness that threatened her, returning every couple of months to spend time with her family. By the time Tawa was born, she had gotten through most if not all of her depression but was still fully in her vagabond stage, traveling and journeying across the world as she saw fit.

Currently: In the last few years she has passed her Rite of Brew and decided it was time for her to return in a more permanent status to the Stonewind Tribe to live with her family. She has built a brewery with the help of gathered friends as well as the Tribe, and once that was built spent time running the brewery as well as getting to know her father better and spending time with her bull friend, Weayava. As Dragonflight neared, she struggled with the desire to go out into the great unknown again, but would journey with her family for a little while there.

Relationship(s): There are quite a few, mostly NPC based as well as her family and other PCs played by the Mun.

Partner(s): A Grimtotem bull by the name of Weayava

Best Friend(s): She hasn’t had the chance to make any best friends, as she travels far too often. Hopefully as she settles down with the Palehorn Brewery she’ll be able to!

BELIEF

A basic rundown of your characters belief system. Any deities they believe in outside of their races, and so on.

Faith: She loosely believes in the Shu’halo pantheon, but primarily follows the traditions that she was raised with for them as well as embracing newer practices. 

Gods/Loa/Other: The Shu’halo pantheon

Symbol(s): Fire for her represents her faith and her belief

Philosophy On: It’s the way of the Shu’halo to follow the Earthmother

Additional: No additional notes!

EXTRA

Any extra information you would share. Notes, ideas, concepts, so on.

Miscellaneous: I play very sporadically. I prefer interactions that can be picked up and set down, such as through here or Discord. If you want to do Discord RP let me know and I’d be happy to do so! I am not interested in seeking character romance or non-platonic relationships with my characters. Sorry if that’s something that gets in the way for you, but it’s a hard boundary that I don’t cross.

Realm: Moon Guard

Faction: Horde

Additional: Lailean is one of my favorite characters to play as she’s such a cheerful and bright character, but don’t be afraid to interact with her on a darker level. She has her darker points, and she does have that Yuangol temper!

[tarangarts23]

Introduction: Tanjore Painting is a culturally rich art form originating from the city of Thanjavur in Tamil Nadu, India. Also known as Tanjore Painting or Thanjavur Painting, this traditional art form has been passed down through the generations and continues to be practiced and admired to this day. Let us dive deeper into the world of Tanjore Paintings and uncover the beauty and significance behind this unique art form. History and Origins: Tanjore Painting can be traced back to the 16th century during the reign of the Chola dynasty in South India. It was initially created as a way to decorate the walls of temples and palaces with intricate and colorful depictions of Hindu gods and goddesses. Over time, it evolved from being solely a religious art form to also depicting secular subjects like portraits and landscapes. Distinct Features of Tanjore Paintings: One of the most notable features of Tanjore Paintings is the use of vibrant colors and intricate detailing. The paintings often have a 3D effect and are adorned with semi-precious stones, glass beads, and gold leaf work. The figures in the paintings are depicted with large eyes and a hint of smile, giving them a divine and serene appearance. Traditional Techniques Used: Tanjore Paintings are created using a unique technique that involves multiple layers. The base is made of cloth or wood, which is then coated with a mixture of limestone and tamarind seed paste. This gives the painting its distinctive texture. The artist then sketches the outline of the subject using natural dyes made from flowers and herbs. The final step involves adding gold leaf work and embellishments to enhance the beauty of the painting.

Materials Used in Tanjore Painting: Tanjore Paintings are created using a variety of traditional materials such as natural dyes, limestone, tamarind seed paste, gold leaf, and semi-precious stones. These materials not only add to the beauty of the paintings but also make them durable and long-lasting. Themes and Subject Matter: The subjects of Tanjore Paintings are mainly religious in nature, with Hindu gods and goddesses being the primary focus. The most commonly depicted deities are Lord Krishna, Lord Ganesha, Goddess Lakshmi, and Goddess Saraswati. However, contemporary Tanjore Paintings also feature secular subjects like portraits, nature, and historical events. Significance of Tanjore Paintings: Tanjore Paintings hold a significant place in the Indian culture. They are not just beautiful pieces of art, but also hold religious and spiritual significance. These paintings are believed to bring prosperity, good luck, and positive energy to the space they are displayed in. They are not just a decoration, but a symbol of devotion and faith. Modern Adaptations and Evolution: While the traditional techniques and themes of Tanjore Paintings remain the same, contemporary artists have begun to experiment with the art form by incorporating new elements and styles. Some artists combine Tanjore Painting with other art forms like Madhubani and Warli to create unique and fusion pieces. This has not only given a new dimension to Tanjore Painting but also made it more accessible to a wider audience. How to Identify an Authentic Tanjore Painting: With the increasing popularity of Tanjore Paintings, it is important to know how to identify an authentic piece. The key aspects to look for are the use of traditional materials, intricate detailing, and a clear depiction of Indian gods and goddesses. It is also important to purchase from a reputable source or directly from the artist to ensure the authenticity of the painting. Conclusion: Tanjore Painting is a beautiful and culturally significant art form that has stood the test of time. With its vibrant colors, intricate detailing, and rich history, it continues to capture the hearts of people around the world. By preserving and promoting this traditional art form, we can ensure that its legacy lives on for generations to come.

[podjewellery]

Navigating Australian Jewellery Supplies: A Comprehensive Guide

Australia is home to a vibrant and diverse jewellery scene, with artisans and enthusiasts alike seeking high-quality materials and supplies to create stunning pieces of wearable art. Whether you're a professional jeweller, hobbyist, or enthusiast, sourcing the right materials is essential for bringing your creative vision to life. In this guide, we'll explore the world of Australian jewellery supplies, highlighting where to find them, popular materials, and tips for creating beautiful jewellery pieces.

Where to Find Australian Jewellery Supplies

Australian jewellery supplies can be sourced from a variety of outlets, including local craft stores, online marketplaces, and specialty suppliers. Many major cities across Australia boast dedicated jewellery supply stores that offer a wide range of materials, tools, and equipment for jewellery making. Additionally, online marketplaces such as Etsy, eBay, and Amazon provide a convenient platform for purchasing jewellery supplies from local and international sellers, with a vast selection of products available at competitive prices.

Popular Materials for Jewellery Making

When it comes to jewellery making, the choice of materials plays a crucial role in determining the overall quality and aesthetic of the finished piece. Some popular materials used in Australian jewellery making include:

Precious Metals: Gold, silver, and platinum are highly sought-after metals for creating fine jewellery pieces due to their durability, luster, and value.

Gemstones: Gemstones such as diamonds, sapphires, emeralds, and opals are prized for their beauty, color, and rarity, adding a touch of luxury and elegance to jewellery designs.

Beads and Pearls: Glass beads, freshwater pearls, and Swarovski crystals are commonly used in beadwork and beaded jewellery designs, offering endless possibilities for creativity and expression.

Findings and Components: Clasps, chains, ear wires, and other findings are essential components of jewellery making, providing functionality and security to the finished piece.

Tips for Creating Beautiful Jewellery Pieces

Whether you're a seasoned jeweller or a beginner, here are some tips for creating beautiful jewellery pieces with Australian jewellery supplies:

Experiment with Different Materials: Don't be afraid to explore new materials and techniques in your jewellery making journey. Experiment with different metals, gemstones, and beads to discover unique combinations and designs.

Invest in Quality Tools: High-quality tools and equipment are essential for achieving precision and accuracy in your jewellery making projects. Invest in good-quality pliers, wire cutters, and other essential tools to ensure professional results.

Take Inspiration from Nature: Nature provides endless inspiration for jewellery designs, from the intricate patterns of leaves and flowers to the vibrant colors of the ocean and sky. Take inspiration from the world around you and incorporate natural elements into your jewellery pieces.

Practice Patience and Persistence: Jewellery making is a craft that requires patience, practice, and attention to detail. Don't be discouraged by mistakes or setbacks – use them as learning opportunities to improve your skills and techniques.

Conclusion

Australian jewellery supplies offer a wealth of opportunities for jewellers and enthusiasts to create beautiful and unique pieces of wearable art. Whether you're sourcing materials from local suppliers or exploring online marketplaces, there's no shortage of options for bringing your creative vision to life. By experimenting with different materials, investing in quality tools, and taking inspiration from nature, you can create stunning jewellery pieces that reflect your personal style and creativity. So gather your supplies, unleash your imagination, and embark on a journey of creativity and self-expression through jewellery making.

For more info visit here:-

jewellery making course 

silver solder

#australian jewellery supplies

[gifttoinspire]

Exploring the Meaning and Diversity of Christian Accessories

Introduction

Christianity is a religion that holds deep spiritual significance for millions of people around the world. For many followers, expressing their faith goes beyond attending church services and participating in religious rituals. Christian accessories provide a way for individuals to display their devotion and connect with their beliefs on a personal level. These accessories come in various forms, carrying both religious symbolism and personal meaning. In this article, we will explore the world of Christian accessories, delving into their significance, diversity, and the ways in which they allow believers to express their faith.

The Significance of Christian Accessories

Christian accessories encompass a wide range of items, including jewelry, clothing, home decor, and more. These items often feature symbols and motifs that hold deep meaning within the Christian faith. Some of the most commonly recognized symbols include the cross, the ichthus (fish), the dove, and the alpha and omega. Each of these symbols carries its own unique significance and is associated with different aspects of Christianity.

The Cross: Perhaps the most universally recognized Christian symbol, the cross represents the crucifixion and resurrection of Jesus Christ. It serves as a powerful reminder of God's sacrifice and love for humanity.

The Ichthus (Fish): This ancient symbol, resembling a fish, holds historical importance in early Christianity. It is an acronym for the Greek words "Ἰησοῦς Χριστός, Θεοῦ Υἱός, Σωτήρ," which translates to "Jesus Christ, Son of God, Savior."

The Dove: Representing the Holy Spirit, the dove is often associated with peace, purity, and divine presence. It holds a central role in the story of Jesus' baptism.

Alpha and Omega: These Greek letters signify the beginning and the end, emphasizing God's eternal nature and sovereignty.

Diverse Expressions of Faith

Christian accessories offer individuals a multitude of ways to express their faith, catering to different tastes, styles, and preferences. Some may prefer understated pieces that hold personal significance, while others might opt for bolder items that openly declare their beliefs.

Jewelry: Necklaces, bracelets, rings, and earrings featuring Christian symbols allow believers to carry their faith with them wherever they go. These pieces can range from delicate and elegant to intricate and ornate.

Clothing: T-shirts, hoodies, and other clothing items adorned with Christian designs or verses enable believers to incorporate their faith into their everyday attire.

Home Decor: From wall art and sculptures to decorative crosses, Christian-themed home decor serves as a constant reminder of one's beliefs within the sanctuary of their living space.

Accessories with Scripture: Some accessories feature Bible verses or quotes, allowing believers to share their favorite passages or verses that hold special meaning to them.

Prayer Accessories: Prayer beads, rosaries, and prayer cards provide tangible tools for believers to engage in spiritual practices and moments of reflection.

Personal and Communal Identity

Christian accessories not only serve as personal expressions of faith but also foster a sense of communal identity. When individuals wear or display these accessories, they often connect with fellow believers and create opportunities for conversations about their faith. In a world that embraces diversity, these items also help Christians stand out while sharing their beliefs in a respectful and non-intrusive manner.

Conclusion

Christian accessories encompass a rich tapestry of symbolism, meaning, and personal expression. From the iconic cross to intricate pieces of jewelry, these accessories allow believers to share their faith with the world in diverse and meaningful ways. By wearing or displaying these items, Christians not only express their individual devotion but also contribute to the vibrant tapestry of religious diversity that exists in our global society.

[indianlacesandfabricsupplier]

Unveiling the Beauty of Handmade Embroidery Ribbons: A Delicate Artistry

Embroidery has long been cherished as a captivating craft that combines artistic expression with intricate needlework. Among its various forms, handmade embroidery ribbons stand out for their delicate and ethereal beauty. In this blog post, we will delve into the world of handmade embroidery ribbons, exploring their techniques, creative possibilities, and the charm they add to different projects.

The Art of Handmade Embroidery Ribbons

Handmade embroidery ribbons involve creating intricate designs using narrow ribbons instead of traditional threads. This technique offers a unique texture and dimension to embroidery projects, making them look more lifelike and vibrant. Crafters often use silk ribbons for their luxurious sheen and smoothness, which enhance the visual appeal of the final piece.

Techniques and Ideas

1. Ribbon Types

Different ribbon materials can produce varied effects. Silk ribbons are known for their elegance, while satin ribbons add a glossy finish. Velvet ribbons, on the other hand, create a rich texture. Experimenting with different ribbon types can lead to fascinating outcomes.

2. Floral Motifs

Flowers are a popular choice for handmade embroidery ribbon projects. The ribbons effortlessly mimic the softness and vibrancy of petals, resulting in a lifelike floral masterpiece. Roses, daisies, and tulips are commonly crafted using this technique.

3. Embellishments

Incorporating beads, sequins, and pearls alongside embroidery ribbons can elevate the artwork further. These embellishments act as dewdrops on petals or add a touch of glamour to the design.

4. Landscapes and Scenes

Handmade embroidery ribbons aren't limited to florals; they can also capture landscapes and scenes. From serene nature settings to cityscapes, the ribbons can depict a wide array of visuals.

FAQs

Q1: Can I use embroidery ribbons for clothing embellishments?

Absolutely! Handmade embroidery ribbons can be used to embellish garments, adding a unique and personalized touch.

Q2: Are embroidery ribbons suitable for beginners?

While they might seem intricate, handmade embroidery ribbons can be mastered by beginners with patience and practice.

Q3: Where can I buy high-quality embroidery ribbons?

You can find a variety of embroidery ribbons in craft stores, online marketplaces, and specialized embroidery shops.

Conclusion

Handmade embroidery ribbons offer a fascinating journey into the realm of delicate artistry. With their ability to transform designs into multidimensional wonders, these ribbons are a treasure for both seasoned artisans and those new to the craft. Whether adorning clothing, home decor, or framed artworks, handmade embroidery ribbons infuse a touch of enchantment into every piece. So, embark on this creative adventure and watch as ribbons breathe life into your imagination.

#handmade embroidery ribbon

[lynnpack]

What can you do with Buckets With Lids and Ice Cream Tubs?

Introduction: Buckets with lids and ice cream tubs are versatile containers commonly used for storing food items. However, their usefulness extends far beyond the kitchen. In this blog post, we will explore creative and practical ways to repurpose these containers once they have served their initial food storage purpose. Get ready to discover exciting uses for buckets with lids and ice cream tubs that will help you organize, decorate, and even embark on fun DIY projects.

Storage and Organization: Buckets With Lids and ice cream tubs can be excellent storage solutions for various items around your home. Here are a few ideas: Craft Supplies: Store your art and craft materials such as paintbrushes, markers, scissors, and beads in these containers. They keep everything organized and easily accessible. Toys: Use the buckets or tubs to corral small toys like Legos, building blocks, or action figures. Their durability ensures that they can withstand rough play and keep toys from getting scattered. Garage or Workshop: Keep screws, nails, bolts, and other small hardware items organized in these containers. Label them for easy identification and create a neat and tidy work area. Gardening and Planting: Buckets with lids and ice cream tubs can be repurposed for gardening purposes, especially for small-scale gardening or starting seedlings: Container Gardening: Drill drainage holes in the bottom of the buckets and use them as planters for herbs, flowers, or small vegetables. Their size and portability make them suitable for balcony or patio gardens. Seed Starting: Ice cream tubs make ideal containers for starting seeds. Fill them with potting soil, plant the seeds, and cover with the lid to create a mini greenhouse effect. Once the seedlings have sprouted, transfer them to larger pots or your garden. Home Organization: These containers can assist in decluttering and organizing various areas of your home: Closet Organization: Use them to store seasonal clothing, accessories, or shoes. Label the containers and stack them neatly to maximize closet space. Pantry Storage: Keep your pantry shelves tidy by using buckets to store bulk items like rice, flour, pasta, or snacks. 

The Buckets With Lids help maintain freshness and keep pests out.

Cleaning Supplies: Store cleaning products, sponges, and scrub brushes in these containers for easy access and a clutter-free cleaning cabinet. DIY Projects: Get creative and transform buckets with lids and ice cream tubs into useful or decorative items: DIY Compost Bin: Drill small holes in the lid for aeration, and use the bucket as a compost bin. Store it in your kitchen or on your balcony and turn food scraps into nutrient-rich compost for your garden. Outdoor Planters: Paint the buckets or tubs in vibrant colors and use them as eye-catching planters for your outdoor space. They are durable and weather-resistant, making them suitable for long-term use. Kids' Crafts: Transform the containers into art supplies organizers, sensory play bins, or homemade musical instruments. Encourage your child's creativity by decorating the containers with stickers, paints, or markers. Conclusion: Buckets with lids and Ice Cream Tubs have endless possibilities beyond their initial use for food storage. From organization and gardening to DIY projects and creative play, these containers can be repurposed in numerous ways. Embrace your imagination, and give these containers a new lease on life by incorporating them into your home and daily activities. Enjoy the practicality, versatility, and eco-friendliness of repurposing buckets with lids and ice cream tubs!

For more information......

Contact us : LynnPack

#Plastic Buckets With Lids #ice cream tubs

[kingzblogs]

What should you look out for when buying a BJJ suit?

BJJ emphasizes the importance of technique, skill, and strategy over physical strength and size. Techniques include but are not limited to lock, choke, and control techniques aimed at bringing the opponent down and preventing them from moving or defending themselves.

BJJ is typically practiced in a gi (a suit that includes a jacket and pants), allowing the wearer better grip and control over the opponent. It is also used in many mixed martial arts (MMA) fights, allowing the fighter to take the fight to the ground and gain an advantage.

In addition to being an effective martial art, BJJ is an excellent form of physical fitness and a way to develop confidence, discipline, and respect. It is also a competitive sport that operates internationally, with tournaments such as the World Championships of Jiu-Jitsu held every year.

How to choose kimonos?

The difference in the various jiu jitsu gi kimonos lies in the details, more precisely in the weave types and fabric types. The higher the GSM, the heavier and more robust the Gi suit.

 There are the following types of weave:

Single Weave: jiu jitsu gi for women is a woven fabric. The advantage is that it is relatively light and thin, which is particularly advantageous in warm temperatures.

Pearl Weave: Pearl Weave is the most commonly used fabric for BJJ Gis today. The Pearl Weave Gi is the lightest BJJ Gi approved for competition, but it is also very robust and durable. The Pearl Weave fabric can be recognized by its tight weave, making the fabric like small beads or bumps appear.

Rip-Stop: This fabric has grown in popularity and is typically used for Gi pants. Originally only a weave for pants, a jacket variant made of ripstop was recently developed. The square grid pattern can recognize the ripstop fabric.

Buy a Jiu-Jitsu belt.

The belt symbolizes the respective "level of experience" of the BJJ athlete. For adults, there are 5 different colored BJJ belts. Beginners wear the white belt, followed by blue, violet, Brown, and the highest level, black.

The intermediate levels are rewarded with a white belt stripe with 4 white stripes. One is then ready for the next belt color. The exception is the black belt. Here, one can achieve up to 6 white stripes before receiving the black and red bjj belts.

What should you look out for when buying a BJJ suit?

It would help if you considered whether you would participate in competitions. If so, make sure that the BJJ Gi suit is IBJJF compliant and approved, otherwise, you may not be allowed to take part in specific competitions.

Be sure to pay attention to the size chart of the respective manufacturer. The sizes for men are often given in A sizes, starting with A1 as the smallest size, through A2 and A3 to A4. There are often short and long sizes for bjj gi where the sleeves and legs are correspondingly longer or shorter.

Last but not least, it should be mentioned that bjj gi kimonos shrink a little the first time they are washed. The shrinkage rate is +- 5%, please consider this when placing your order.

[catsnraincoats-archive]

hh its back to thinking abt the nayive american genocide ig

#dont rb #idk its just. #what would an american accent be if out langauge wasnt destroyed? #or ig it would be more like different ttibes accents #What would an Aniyunwiya accent be like? #and what would be random language things that people laugh about because it doesnt make sense if you're not a native speaker? #imagine growing up and writing in tsalagi. and thata your first language #and imagining Aniyunwiya traditions and culture being the norm here. #beading as a more commonly practiced art #just #so many things that could have happened #but instead we got murdered and colonized #hh..it makes me sad to think about

[celestiaphia]

My Ritual for Offerings and Prayers

Simple Version - Full Version

I got a lot of positive feedback when I mentioned writing a post about my own practices so here it is! Please keep in mind this is all about my own practice, this is not reconstructed, historically accurate, or required for anyone to do it like I do it. Hopefully this will inspire others to share their practices. If you have questions about anything, feel free to message me. 

How I Created my Ritual

Before I go over the specific ritual I follow I want to talk about how I created them. Some of it is influenced by reconstructed hellenic polytheism but the majority of it I created over time as I added things, took things away, and found what worked for me.

When I first tried creating a ritual to fit myself, I asked myself what giving an offering means to me. At the most basic level I decided an offering means inviting the Gods into my home as guests. With that in mind, I could use the idea of Xenia, hospitality, to shape my ritual. I don’t know if this is commonly how other people treat it, but it’ll be obvious how important it is in my ritual and it’s important enough to me that I wanted to specifically call it out.

Formality in ritual is incredibly important to me. I believe that formality and ritual is valuable for strictly defining a difference between the sacred and the profane. It allows for a deeper experience with the Gods. I typically do free form prayer along with my offerings, but with some Gods I do give more informal prayers without ritual or offering - it depends on my connection with the God. 

I also want to note - this process is pretty long and involved and I am hoping to make a quick and more minimalist version that both meets my requirements for ritual and doesn’t require so many steps. Even if this altogether takes only 10 minutes, it feels like a lot and I am hoping to find a ritual process that I can do quicker so I can do it more often. 

My Steps for Offering

1. Preparation - I get everything I need for the ritual. I don’t want to have to leave my altar in the middle because I forgot my lighter! I also make sure my altar is clean and I’ve set up any art I may be using. I currently use tarot cards or other art cards as a stand in for statues and a way to help me focus on a specific deity.

2. Ritual Cleansing - Ritual cleansing is important to me not necessarily because of a strong believe in lyma/miasma but because it’s a special process to tell myself this is a special time. It’s a way for me to focus  my attention on this moment, and mentally transition myself into the space for worship. Ritual cleansing for me could be a shower, washing my hands, or using khernips. I’ve done all of the above and sometimes one feels more necessary than the other. Lately I’ve been using khernips more since it’s ritual heavy and, I love ritual!

3. Put on a Veil - This is the newest step in my ritual and it’s in “beta” phase. After cleansing, I put on a full head veil. Thus far that means - putting up a hood on a jacket/hoodie. I haven’t invested in a unique veil yet but I do plan to. I’ll be making a detailed post about what veiling means to me in the future and if I remember I’ll link the post here. 

4. Light My Altar Candle - I can’t use incense, so instead I light a candle. This is a candle I only use when I am giving an offering or praying at my alter, never for any other purpose. This allows it to be another way of making this time/space sacred; lighting the candle signals this is a ritual, sacred space. This step originally came from the practice in Hellenic Polytheism of the hearth, and the first offering being given to Hestia, but I don’t always pray to/give first offering to Hestia. Nonetheless, in her own way she gets rep at my alter with the candle!

4.5. Grounding in the Moment - This is not a step I always do, it depends on how I feel but at this point I will sometimes pause to close my eyes and take a few breaths to ground me in the moment, to mentally focus before I speak. 

5. Invite the God(s) to My Altar - “(God’s name), I ask you to join me at my altar as I offer and pray to you,” or if I’m offering to more than one god, “Dear Gods, I ask you to join me...” - I may word this differently since though I have formal steps, my wording is all done on the fly. In the spirit of Xenia, viewing the Gods as my guests, my first real step in the offering is to invite them in. I believe this is a good way to get the God’s attention before I give my offering. 

6. Give the Offering - My most common offering by far is a libation of water. (Why Water is not a Lazy Offering) I will pour the water from whatever holding vessel I’ve used into my special libation glass. While giving the libation I say: “I offer to you this libation. May it please you and bring you joy.” If I’m offering something else, of course I won’t say “this libation” I’ll specify whatever I’m offering. If I’m giving multiple offerings like libation and food, then I’ll call out each one separately.  

7. Prayer - Give Thanks - I thank the God for anything they have recently done for me, or generally for their existence and what they’ve done in my life. It’s incredibly important to me to offer my thanks every time and especially before I have any requests to make in prayer. The prayer sections of my ritual are the most freeform, it will depend on the god I’m praying to. Some I will give a short prayer of thanks, and others I will go on for a while, listing the many things they have done for me, thanking them for what they have brought to me in my life. I am speaking from my heart when I do this - I do not give thanks because I have to but because it’s something I am truly thankful for. 

8. Prayer - Supplication/Request - This is an optional part of the prayer. If this is my first time praying to a specific deity I will almost never make a request of them, since I believe it’s rude to ask them for something when we have not built any kharis (built a relationship) between each other. An initial prayer to a God is to invite them in as my guest, give them an offering, thank them for coming - and that’s it. This may also be optional if I don’t have anything to ask the specific God for or if for some reason it doesn’t feel appropriate to me to ask for anything.

Just like giving thanks, this section will be mostly freeform, but there is one part of praying for things that I do very specifically. Before I ask for anything I say, “If it would pleases you” or “if the fates will it” or something to that effect - signaling that though I ask for this, I know that I am not guaranteed it and it ultimately is up to the god if they choose to do it for me. It’s important to me to signify that I know the Gods do not owe me anything, that I cannot expect anything from them - not that they are cruel and wouldn’t do that, but that they are not vending machines who I can give offerings to and get something from.

A request could be as simple as “If it would please you, I pray that you guide me to be more like you” (in prayer to Athena for wisdom) or it could be more complex, talking about a problem I’m going through, and praying for specific help and guidance through it. Since this is a freeform prayer, sometimes it does not always follow either the pattern of thanks then request - but I do generally try to give thanks first , then request, then I can speak as freely as I wish to the God. 

9. Repeat Steps 6 - 8 as Needed - If I am praying to multiple gods, then my offering/prayers are done uniquely for each God. Each step could be as long as short as I want it to be, but the most simple example of giving to multiple Gods would look like this:

“I pour this libation to Hermes” (Pour small amount of water) “Thank you Hermes for all that you do in my life.  If it pleases you I pray that you continue to help me with my job. Thank you. Now I pour this libation to Athena” (pour water again) “Thank you Athena for all you do in my life...” and so forth

Because of the amount of detail I put into my ritual, if I’m praying to more than 3 Gods I generally make the prayer sections very short. If there are Gods for whom I want to give longer prayers - then those are typically the ones I will offer and worship to exclusively, to give them special offerings and time all their own. Otherwise it gets to be too much. 

9.5 Meditation - Another optional step, I have some prayer beads I will use to meditate with at my alter and focus on the God/Gods and generally let myself experience whatever I am feeling  as I am in this sacred space. This may lead to me making more prayers as feelings come up or may be as simple as me taking a few breaths as I think on the Gods. I don’t always do this but just like grounding helps me enter the ritual, I think doing the same as the ritual is ending is helpful. 

10. Closing the Ritual - To close the ritual, I first thank the God(s) for joining me. I’ll say something like: “Thank you (God’s name)/Gods for joining me at my alter. I pray that the offerings pleased you and that you will join me again in my home.” After this I will snuff out my candle and remove my veil if I was wearing one. I don’t have any opinion on blowing out vs snuffing out a candle,  but I have a candle snuffer so I do use that. 

Minor Details

Where do I put my hands? As someone who was raised Christian, it’s almost instinct  for me to put my hands together in prayer. Sometimes I do pray this way. Sometimes I pray with my hands open and facing up for Olympic Gods, or facing down for Cthonic Gods. I try to use the second one more than the first - but I don’t judge myself if habit of putting my hands together kicks in. I try to remember that intention is what matters most of all. 

What does my altar look like?  Here is a recent post with pictures and details of my altar. Here is a picture of my altar after a ritual. (I chose to leave the candle lit for the picture.) This is a picture of my altar from 3 years ago, and an even earlier picture of my altar. This will hopefully help people see that altars don’t always start so full and pretty! Seriously, my first altar was a cardboard box I had covered in fabric. We do the best with what we have available to us. 

How long do I leave out my offerings? I used to remove my offerings immediately after giving them because otherwise I was afraid I would forget them. I’ve started leaving them for longer, but it does end up being an issue still if I do forget them. Ideally I would remove them 24 - 48 hours later, and no longer than that. I feel leaving them for some time afterwards helps to symbolize that I am continuing to honor the Gods even when I am away from my altar.

How often do I give offerings/prayers? Due to my current living situation, my adhd and other mental health issues, and because of how complicated my ritual process is, I don't give offerings and prayers formally with this ritual as often as I'd like. I aim for once a week, but a more realistic answer is every two week to once a month. I do set goals for myself, but loosely. If I miss a goal, I remind myself I can do it again the next day or week, and that it's not a failure. There's a lot going on in our lives (especially this past year 2020). I don't give up if I miss a week, and know I can always do it whenever I have time next.

This is why I hope to make a quicker and simpler version of my ritual in the future, and when I do I will make a post for it as well.

Where do you get items for your altar? When I am able, I do buy unique items from Etsy, and a few items on my altar were gifts, but for the most part a LOT of the items on my altar were gotten from Good Will and other thrift shops! i recommend thrifting because it’s affordable, environmentally friendly, and allows for creativity. For example, I made devotional jars to some Gods using tiny spice jars from the thrift store, glitter, and little items representative of the Gods. 

#My Practice #hellenic polytheism #Hellenic revivalism

[skekheck]

All About the Seven Clans: the Vapra

THIS POST CONTAINS EVERYTHING I COULD FIND ABOUT THE VAPRA. SOME INFORMATION WRITTEN HERE ARE FROM OLDER MATERIAL AND MAY EITHER CONTRADICT STATEMENTS OR IS NO LONGER RELEVANT. I WILL DO MY BEST TO STRING IT ALL TOGETHER AS COHERENTLY AS POSSIBLE. IF THERE IS INFORMATION THAT I AM MISSING, PLEASE LET ME KNOW AND I’LL ADD IT!

Clan Index: Dousan Drenchen Grottan Sifa Spriton Stonewood Vapra

High above the Northern Mountains that bordered the Silver Sea Coast lived the Vapra. As the Skeksis’ ambassadors for the Gelfling race, their high societal status led them to acquire an abundance of resources which made them both rich in wealth and knowledge. Ha’rar was not only the capital of the Vapra but for the entire Gelfling race during the Age of Division. It was also the home of the All-Maudra, who doubled as maudra of the Vapra and the matriarch leader of all the Gelfling clans.

The Vapran totem animal was the Imperial Unamoth and their core elements were light, day, and keepers of the future. Their clan color was silver, their sigil was purple and silver, and their pennant color was purple with silver and gold detail. 

Characteristics 

The Vapra were well adapted to their environment as they were hardly affected by cold weather, ice, and snow. As creatures of altitude, air, and lightness they lived comfortably high above on the windy mountains. They were the masters of camouflage as they could easily disappear into their surroundings. Some works said this was thanks to their physical appearance but others, those of which were older, credited this to a type of magic they had. 

They had a fair complexion with hair that was generally light as well. Hair color ranged from white to silver to various shades of blonde. On rare occasions a Vapra had black or brown hair.  It could have had highlighted sections of dark blue, blue-purple, lavender, or all three. Vapran hairstyles were commonly extravagant, even in Gelfling who performed trades or menial work. They could be curled, straight, braided and more, with ribbons and beads for decoration.  The Vapra had a diverse range in eye color which could be shades of green, yellow, brown, grey, and blue. In the J.M. Lee book series, they also had lavender-colored eyes. 

Unlike most clans, Vapra prioritized fashion over function. They had clothing for every occasion or to portray a certain mood. Vapra fashion had an ethereal quality with soft light blues, silvers, and pinks that matched the sky. They wore plenty of jewelry, a sign of their nobility. Vapran garment had wind shaped vestments along the back even worn by those who never had wings. They were heavily garbed with cloaks and hoods whose function was to protect clothing and jewelry from the elements rather than keeping the Gelfling warm. 

According to skekNa the Slave Master, Vapran essence was prized above all others for their restorative effects making the clan an important resource for the Skeksis. 

Vapran Wings and the Art of Flight

The Vapra’s gossamer wings were broad and light which made them one of the fastest flyers among the other gelfling, only rivaled by the Sifa. Their skills were largely contributed from their environment with its updraft winds created from the Silver Sea and manmade airy channels within Ha’rar. At the same time, their abilities were thanks to the Vapran tradition of flight. Like most Gelfling, taking wing was seen as one of the most joyous pleasures of Gelfling life. 

Flight was also a sign of prestige, power, and ability. It was believed that the skeksis placed the Vapra above all other clans was due to their aerial abilities. When winged Vapras needed to settle a dispute, they’d compete with each other in the air to test their agility and strength. 

Lifestyle

Life in the Northern Mountains was always cold with long, dark winters with snow falling nearly every day. Even during the summer the sky remained clouded with very rare instances of sunny days. The Vapra carefully prepared for the stretches of dark winters and shortened days during the summer.

As their maudra was also the matriarch leader of all Gelfling, the All-Maudra was too busy to make time for them. So the Vapra became independent and self-sufficient which allowed the All-Maudra to tend to her duties. Each Vapra did their part together doing specialized tasks that allowed the community to flourish. In fact, the Vapra had the highest population count out of all seven Gelfling clans. 

The Vapra lived luxurious lifestyles, thanks to their access to natural resources, their strong trade economy, and their relationship with the skeksis. Being placed the highest on the gelfling hierarchy provided them with services that were a rarity among gelfling, including the ability to read or write. Although some Vapra flaunted their status in the public eye, most held private lives which they spent the majority of with their families. 

When a Vapra committed a transgression, punishment involved being sent to a gelfling community service called the Order of Lesser Service. Led by the Daudran, the “Members of the Lesser Service” were forced to do unpaid work such as pre-chew food for Nebrie or do a Podling cleaning ceremony  called “deterge” while wearing a jester hat with bells. A Vapra could spend up to a trine in the Order of the Lesser Service dependent on their sentencing. 

Daily Routine

Unlike in other clans, the Vapra didn’t rise together in the early morning. They each had their own unique, flexible schedule to follow throughout the day. It was primarily self-determined and revolved around the Vapra’s needs and the needs of others. They spent their days working their trade and returned home in the evening to be with their families. 

The Vapra were a large industrious clan and had a variety of different occupations. Some of the more prestigious jobs were metalworkers and artisans. They had great access to minerals and metals found within the Silver Sea cliffs and were skilled in both practical and ornamental designs. Artisans, for example, were praised for their metal and colored glass works which were commonly seen in Vapran architecture. Plenty of Vapra dedicated time to scholarly and political activities thanks to the abundance of knowledge readily available to them. 

The Burden of the All-Maudra

According to skeksis propaganda, the role of the All-Maudra was created to end supposed clan discord and skirmishes and brought order to all gelfling. Although gelfling of other clans had taken up the title, the skeksis decreed that only the Vapra could be All-Maudra some time during the Age of Division. As a ruler and ambassador, the All-Maudra had to take care of their own clan, the other six clans, and heed the will of the skeksis to bring it down upon all gelfling. On the rare circumstances the All-Maudra was absent, the successor or a regent would temporarily take their place. 

The All-Maudra spent their days trying to fulfill the needs of the the Gelfling and the skeksis lords, the latter of which were very demanding and impatient, within a timely manner. The All-Maudra had little time for their own clan. Many spent their entire lives without seeing them and simply gaining a hearing with them was considered an exceptional honor. Even their family was neglected where the idea of “duty first, family second” was something that couldn’t be tested. Relationships between the All-Maudra and their successors were constantly strained as the successor went through difficult and harsh training so they would be prepared for the role. The intention was never out of malice, but it negatively affected many generations until the Gelfling Rebellion. 

This role was discontinued during the Age of Power as both Jen and Kira ruled as the Great Elders of Thra. 

The Living Crown

The traditional head adornment of the All-Maudra was the Living Crown. It was a symbol of the All-Maudra’s power, unity of the Gelfling race, and loyalty to the skeksis. It consisted of seven detachable pieces which were only removed when it was time to appoint the new heir. The coronation of the new All-Maudra was a highly celebrated event with Gelfling all over Thra arrived to witness. 

The ceremony began with the All-Maudra breaking the Living Crown into its seven pieces. They give six of the pieces to Windshifters to be sent to the other maudras. If the All-Maudra died unexpectingly, the heir would sing a song to have the Windshifters take the pieces themselves. The other maudras would then go on a pilgrimage to Ha’rar with their piece of the crown, assisted by their own successors and closest council members. Once arrived, the maudras reassembled the Living Crown whilst giving their blessing to the heir. The blessing was also an oath of fealty, not just to the new All-Maudra but what they presented as the ambassador of the Gelfling. If the All-Maudra was still alive, they placed their final piece of the crown and officially crowned the new heir as the All-Maudra.

Possible but rarely could the claim for the Living Crown be challenged. One of the maudras could withhold their blessing and fight for the Living Crown through trials. This occurred during Seladon’s coronation when Maudra Fara challenged her to Trial by Air. A similar crisis like this happened 639 trine prior. Trials like these, as noted by Maudra Seethi, weren’t the way of the Gelfling but of the skeksis. Other gelfling could make legitimate claims for the crown under certain circumstances. Fenth of the Sifa clan had made at least three attempts and was the only male Gelfling noted to do so but was not successful. 

The Living Crown was destroyed during the late Age of Division. Instead of going through with Maudra Fara’s challenge, Seladon made a new crown proclaiming the old one was tainted by the treachery of her mother. When Maudra Fara refused to accept her as the new All-Maudra, Seladon threw her into the Living Crown and broke it. 

Paladins

Paladins were specially trained, mostly Vapran, warriors who worked under the All-Maudra. They were charged with a variety of tasks including protecting Ha’rar and its Citadel, escorted Vapran trade caravans across the Skarith Region, captured fugitives, and go on rescue missions. Paladins with wings also undertook airborne missions. Many paladins were skilled at fencing and riding Landstriders. When one addressed a paladin, they were given the title of either “sir” or “lady”. A paladin was stripped of their title if they acted dishonestly.

For a gelfling to become a paladin, the All-Maudra must knight them. Not all paladins were Vapran as evident by a Sifan paladin and Hup the Podling who was knighted by All-Maudra Mayrin. Sometimes when the All-Maudra had multiple children, if they chose, could lead the entire paladin class. Princess Katavra, for example, commanded over the paladins during the late Age of Division. 

Chrysalisday

Two nights every trine the three Sisters appeared in the sky, which was a gelfling holiday known as the Celebration of the Sister Moons. On the day before one of these nights the Vapra celebrated another holiday: Chrysalisday. The Unamoth, the Vapra’s sigil animal, had an unpredictable hatching timeframe from their chrysalis. Some opened within an unum while others waited a trine or longer. And some never opened at all, which the Vapra used their chrysalises as good luck amulets. No naturalist or far-dreamer could predict when the Unamoth chrysalises opened. Thus, Chrysalisday was a reminder of the potential of the future and the unpredictability of fate. 

On the evening of Chrysalisday, youths carried lanterns down to the wharf where they’d released them into the sky. The lanterns themselves were made of paper, crafted by their bearers, and mixed with flammable bluedust. The dust eventually caught fire from the heat of the lantern and popped in bright colors. However, the distribution of the dust was uneven so no one was able to predict when they ignited, if at all. 

Diet

The Vapra had access to all sorts of foods and spices through trades, making the Vapran diet varied with meats, fruits, and vegetables. Vapran chefs were also knowledgeable in preparing traditional dishes from other clans, putting their own spin on it. A gelfling could get any kind of food they’re craving, but would had to pay a large price for it. Not surprisingly, the Vapra had excellent dining manners and preferred using utensils. 

Vapran food was sweeter than other clan cuisine because of the groves of sugarwood grown in the mountains. They also preferred less spices and seasonings in their food. 

A traditional Vapran dish was a hearty, sweet stew of mushrooms and cream. It was sometimes served with a baked mint-apple over the top of it and garnished with Hooyim oil. Vapran Frost, a type of soft cheese dusted in powdered sugar, was considered a delicacy. 

Ha’rar, Capital of the Gelfling World

Surrounding the cliff sides to the north of the Silver Sea Coast lied the city of Ha’rar. It was the largest gelfling settlement on Thra lined with hundreds of domed, thatched roofed houses clustered together around the Citadel. Vapran homes had additional doorways on the roofs, sculpted with hand and foot rails and platforms for winged gelfling to land comfortably on. Underneath Ha’rar were vent channels created from the wind helped winged Vapra get around. 

As it was considered the capital and hearth of the Skarith Land, it was a popular destination for both tourists and merchants. Ha’rar was in a good location near the mouth of the Black River and along the Silver Sea Coast which brought a large of influx of merchants and goods to the city. Its port market was the best place to sell and purchase goods. Gelfling from all walks of life could be found there, even rare visits from Dousan and Drenchen travelers. 

Important ceremonies were held at Ha’rar, one of which was the tithing ceremony. In the early Age of Division, it was held every three unum where gelfling from every clan made their way to Ha’rar and offered their products of labor to the skeksis. Over time as the gelfling populations grew, tithing ceremonies were reduced to once a trine and were held in other gelfling settlements. But Ha’rar was still honored with being the first to hold their ceremony and other clans still came to attend. It was the only opportunity for a gelfling to see both the All-Maudra and the Lords of the Crystal themselves. 

Outside of Ha’rar were individual Vapra villages, hot springs, the Waystar Grove, and Landstrider pens to its south. Hidden within the cliffs and mountain forests lied a hovel made of stone and ice. In the book series, it belonged to urSan the Swimmer. Her home was filled with charts of the stars and waterways found all over the Skarith Region. 

During the Age of Power, the Gelfling capital was moved from Ha’rar (or what remained of it) to the Castle of the Crystal. 

The Citadel 

The Citadel was the capital building of Ha’rar and the home of the All-Maudra and their family. It was built from carved stone of the Vapran mountains, reinforced with metal, notably silver, and crystal. It was visible nearly anywhere along the coast and was a must-see for any gelfling visiting the city. The Citadel housed the All-Maudra’s throne room where they’d met with citizens and the Skeksis, hosted ceremonies, and held court. Within their personal chambers was a cluster of Unamoth chrysalises as a reminder of the meanings taught by Chryalisday. A secret chamber lied beneath the throne room which housed Lore, a creation of skekGra the Heretic and urGoh the Wanderer, who would help the Gelfling end skeksis rule if they solved the puzzle in the room.

The Citadel’s creation, and who built it, was lost to time. Most historians believed it was built with the help of the skeksis, but most information was transformed into legend. The structure represented as the symbol of the Vapra and considered the most impressive Gelfling architectural feat. Some songs, like the ditty “Twin Castles”, compared its likeness to the Castle of the Crystal. 

The Library 

Just as important as the Citadel was the Vapran library. It was only a short walk from the Citadel and one could easily spot the white marble domed building. It was a labyrinthine of multiple floors, book cases, and spiraling stair cases with its stained glass ceiling illuminated the entire building. It contained an overwhelming amount of tomes, scrolls, and precious artifacts neatly organized and maintained by librarians. Librarians could have familiars as evident by the Librarian in the Age of Resistance and his Pluff’M.

Any Gelfling could come to read or be read out loud by librarians for those who were illiterate.  Plenty of scholars like Princess Brea came to the library to learn. Brea utilized a lot of what she learned from the many scrolls and tomes on her quest, including the book that gave her the vision of the aureyal. 

An ode called “Immortal House” was created by an unknown songteller who was present on the day the library was completed. 

Mountain Hot Springs

Deep within the mountains were pockets of hot springs. Getting there was difficult as the distances between Vapran settlements and the springs were filled with blizzards and slippery conditions which made mountain climbing dangerous. But despite the risks, dozens of Vapras could be found occupying the pools at a time.

The springs also held a bizarre tradition or belief. For one to enter the vicinity, they were required to disrobe. Even hair garments were taken off. The belief was, as the gelfling were only in their own skin, no one could tell what status they had. Whether Vapra or any gelfling from another clan, in these places they were all one.

Kira-Staba

Kira-Staba or the Waystar Tree was a grove of trees that resided within a bay near the Silver Sea. Much like the Cradle Tree, all of the trees were a part of one tree which grew around it like toadstools. The Waystar Trees had an interesting property to it which allowed them to glow blue at night. Its light wasn’t seen from Ha’rar but easily anywhere along the Silver Sea Coast. 

The Waystar Tree was used as guidance by all gelfling, whether it be Sifan sailors or Vapran explorers. It was because of the Waystar Trees that the Vapra founded Ha’rar. It was memorialized in a song called “the Forty Sisters”. The grove was also a metaphorical guider as the Vapra looked to in times of need. The journey to the grove was not easy as there were no carved paths and the winds were relentlessly cold. But when they reached the grove, the gelfling would be warmed up by the light the trees gave off. 

In the book series, in order to reach out to the Vapra clan and help them light the fires of resistance, Tavra, Kylan, and Amri went to the Waystar Tree. With Kylan playing his firca, Amri dreamfasted with the tree to help Tavra carry her message to her people to encourage them to join the rebellion. She was able to inspire the Vapra just before skekSa the Mariner destroyed one of the trees. 

Relationships with the Skeksis and Other Clans

Although there were some Vapra who looked down upon outsiders and held attitudes of superiority, most of them were kind, curious, and considerate. This doesn’t mean they weren’t susceptible to ignorant stereotypes and were less likely to get in trouble for it. Some clans viewed them with contempt. The Stonewood, for example, believed they should have been chosen as the Gelfling ambassadors and weren’t afraid to make such remarks known. These vents never took too far as it would have damaged the Stonewood’s reputation with both the Vapra and the skeksis. Going against the Vapra was going against the skeksis. 

As the Vapra were the skeksis’ chosen ambassadors for gelfling kind, they were the closest to them. The Vapra even developed a dialect that matched closely with the skeksis’ gelfling accent, which they emphasized around the Lords and other clans. In turn, the skeksis favored the Vapran above all others which the clan benefited from the wealth and security awarded to them. Despite the trines worth of service, it was the All-Maudra who stood up against the skeksis and would have been the first to convince the Vapra to join the resistance if she wasn’t killed. 

As Ha’rar had a trade-based economy, the Vapra sought to maintain trading relationships. Arguably the most important of these relations was with the Sifa. During the spring and autumn, the Sifa arrived at Ha’rar’s port and traded goods from the sea and in turn the Vapra exported foodstuffs like Nebrie eggs and Sourloaf. Over the Age of Division, the Vapra and Sifa got into skirmishes. The most notable of them was the Age of Sifans secession movement which was created as a result of late All-Maudra Seladon’s (mother of Mayrin) treatment of them. The other was a shorter diplomatic incident caused by Princess Brea when she erased Elder Cadia’s memories. Both conflicts were solved and restored clan relations. There was a brief period of strong unity between the two clans when All-Maudra Mayrin decided to wed and had a child with a Sifan captain named Kam’Lu. For unknown reasons, their relationship ended and whatever positive implications it had vanished as enforcement of clan separations continued. It was considered a punishable offense, which required serving time in the Order of Lesser Service, if a Vapra dated outside of their clan. This was especially ironic as, in the book series, Mayrin disapproved of Tavra and Onica’s relationship to the point the two had to keep it a secret. 

The most interesting clan relations were that of the Vapra and Grottan. The two clans used to be one, known as the Silver Sea Clan. According to the Song of Six Sisters, the Silver Sea Clan was tasked with not only looking after day and night, light and shadow, but also the past and future. Because this was too much for one clan and Thra desired seven clans, the Silver Sea Clan was split into the Vapra and Grottan. The Grottan had some connection with the Vapra during the early Age of Division as some of their spices were still sold in the market places. But with a combination of the Grottan’s reclusive nature and their association with dark and unknown things, the Vapra wanted nothing to do with them. 

Outsiders often called the Vapra  Silverlings. Vapran princesses or those of royalty were sometimes referred to as “their Silverness”. 

Legacy of the Vapra: Kira

Although most gelfling were seemingly wiped out during the Garthim Wars, some managed to survive. One of these gelfling were Kira. Although the identities of her parents are unknown, her mother was at least of Vapra descent. Her mother (presumably) hid her within a tree, but was captured by a Garthim shortly after. Kira ended up finding a podling village and was raised by Ydra. She lived with them and her pet Fizzgig for many trine up until her fateful encounter with Jen. She immediately helped him on his quest, using her skills she learned from the podlings including bola throwing and animal soul speaking. After she was caught within the castle’s catacombs and nearly drained of her essence by skekTek the Scientist she threw the crystal shard to Jen so he could heal the Crystal. But in the process she was fatally stabbed by skekZok the Ritual Master. She was later revived by UngIm when the skeksis reunited with their mystic counterparts. 

Like Jen, Kira was taught about her heritage but it’s unknown how much of it she knew. She was at least told about what happened within the ruins surrounding the Wall of Destiny that she refused to go there for what happened to the Gelfling. However, she showed leadership qualities. When she sat on throne within the Gelfling ruins, she noted how it felt right for her. She would also rule over the repopulating Gelfling civilization with Jen as not an All-Maudra but a Great Elder of Thra. 

Notable Vapra Members

Brea: All-Maudra Mayrin’s youngest daughter who lived during the late Age of Division. An inquisitive scholar who, after witnessing two gelfling who couldn’t pay their tithe, began questioning skeksis rule. It was through her curiosity that she discovered the truth about them and joined the Gelfling Resistance with Rian and Deet to end skeksis rule.

Katavra: Better known as Tavra, she is the second oldest daughter of All-Maudra Mayrin who commanded over the paladins. In an attempt to rescue Gurjin, she was captured by the Skeksis and later used as a vessel by the Ascendancy to capture other Gelfling. In the book series, she also had a secret relationship with the Sifa far-dreamer Onica. 

Seladon (II): (Note the Roman numeral is not canon it makes it easier to identify the character) The eldest daughter of All-Maudra Mayrin. As the eldest child, she was trained to become the next All-Maudra. She suddenly succeeded the throne when her mother was killed and had a brief rule as All-Maudra Seladon. After a traumatic experience with the skeksis and realizing the error of her ways, she joined the Gelfling Resistance with her youngest sister. 

All-Maudra Mayrin: The matriarch leader of all seven clans during the late Age of Division. Her early rule started when she suddenly succeeded the throne after her mother’s death and quickly had to deal with political tension between the Vapra and the Sifa. During her rule she both respected and feared the skeksis and never questioned their decisions. But when confronted with the truth, she made a stand against them only to be killed by skekVar the General. 

Mira: A Vapran castle guard and former girlfriend of the Stonewood Rian. She was the very first victim of essence draining and her death had a ripple effect on the relationship between the gelfling and skeksis lords which eventually developed into the Gelfling Resistance. 

Juni: A Gelfling girl who was sent to the Order of Lesser Service for trying to have a Spriton lover. 

The Librarian: A nameless Librarian who had a Pluff’M familiar during the late Age of Division. He worked for the royal family aiding the scholar princess Brea with her pursuit of knowledge and was present while All-Maudra’s was tended to. He used to travel with the Sifa and had an unspoken relationship with Elder Cadia. 

Kira: Descendant of the Vapra clan, saved by her (presumably) mother and raised by podlings for many trine. She grew up with some knowledge of Gelfling culture, including what happened to the Gelfling race. Eventually she met Jen and aided him in his quest to heal the Crystal of Truth. 

Seladon (I): (Note the Roman numeral is not canon it makes it easier to identify the character) The All-Maudra who proceeded before All-Maudra Mayrin. Although she made efforts to bring unity, she severely neglected the other clans to the point their cultures were endangered. Despite this and the strained relationship they had, All-Maudra Mayrin named her first daughter after her. 

Dot'leth: Loyal royal advisor and friend to both All-Maudra Seladon (I) and All-Maudra Mayrin during the late Age of Division. When the Sifan Fenth sought to exploit the political void left by the disappearance of Mayrin, Dot’leth acted as regent to stop his efforts from claiming the Living Crown. 

Barfinnious: A paladin during the late Age of Division. He became a traveling bard who told exaggerated stories of his adventures to villages all over the Skarith Region. He ended up meeting a podling chef named Hup and promised to teach him how to become a paladin like him. 

Kel: Also known as Lady Kel, she was the daughter of Elder Vedev who lived during the late Age of Harmony and early Age of Division. She was one of the few witnesses of the Great Division.

Elder Vedev: The mother of Kel who lived during the late Age of Harmony and the early Age of Division. 

[Sources: Song of the Seven Gelfling Clans, the official Dark Crystal website, Shadows of the Dark Crystal, Song of the Dark Crystal, Tides of the Dark Crystal, The Dark Crystal: Age of Resistance, the Dark Crystal, The Dark Crystal Age of Resistance, An Epic Return To Thra, The Ballad of Hup & Barfinnious, the Journey Into the Mondo Levidian, Author Quest: The Gelfling Gathering, Creation Myths, Heroes of the Resistance, the Dark Crystal Bestiary, Power of the Dark Crystal, the Dark Crystal novelization] 

#the dark crystal #gelfling #all about the seven clans #vapra #my posts

[messinwitheddie]

You've mentioned that Irkens are fond of fiber arts like sewing- do any of your characters(or you!) do any embroidery or cross stitch? :D

I personally don't sew or have any real skill in fiber arts. I would live to learn needlepoint one day. I'm terrible at knitting/ crocheting. XD

My grandmother is very good at sewing and crocheting. Her specialty is Raggedy Ann and Andy dolls (she has made Raggedy children of all kinds of colors and various clothing patterns. I love every one she ever gave me)

My sister-in-law is a seamstress who sews amazing clothes/ costumes/cosplays.

Toymaking and Fiber arts has a special place in my heart and I wish more people (at least where I live) understood the true artistic value and cultural significance to it.

As far as my Irken OCs go,

Yeet likes to sew dolls, but she likes to embellish the fabric she uses with embroidery and beads.

Mem, fortunately for her, as a cadet took sewing and embroidery lessons as an elective while in basic training. She worked in the communal laundry warehouse on the Viral before being "promoted" to Lich's table drone. The skills she learned as a cadet (how to make your own silk/ sew) proved very useful to her after being shunned/ exiled by Miyuki.

Mem has taught her daughters and several of her sons the sewing skills she learned. Mem knows how to needlepoint, but lacks the creativity to stitch anything fancy.

Kiz, coddle drone to Kii, was very good at needlepoint. In her time it was still commonly practiced among low ranking drones to sew/ stitch at home as a hobby.

It's a shame Irk's rich history in needlework was lost after the control brains took over.

#invader zim #irken #culture #fiber arts #ocs #kiz #kii #tallest #dava #mother of 3 swarms

[blueandwhitekitchen-blog]

Blue and White Kitchen : New Trends in the Modern Kitchen Style

Blue tones have for quite some time been a most loved decision for rooms and living spaces the same.In any case, the most recent market patterns delineate how this marvelous shade has cleared a path to effortlessness kitchens, more than ever.

All in all, for what reason does everybody needs a bit of blue in their lives?

All things considered, first off, blue as a shading is a flexible pick, which implies it can match up incredible with practically some other shade.Additionally, Blue is one stage up from violet right on the palette, which makes it a ”cool” shading and has exactly the intended effect to elevate one’s mind-set.

Compasses of naval force blue, light blue, child, coral blue, and numerous different shades are progressively giving different hues a run for cash to improve kitchens all around. Passing by the guidelines of shading treatment, blue is one such shading that is distinguished to acquire harmony and loosen up one’s detects.

No big surprise it’s the favored tone for unwinding and reflection offices and is regularly connected with standards of shrewdness, imagination, and other worldliness. Lighter shades of blue are said to get a dash of peacefulness and quietness to one’s environmental factors.

The best part? The shading doesn’t constrain itself to the dividers and the accents. blue and white kitchen shaker cupboards are progressively sought after over the market. That been stated, here’s a glance at how you can realize a change with blue kitchen cupboards and blue kitchen.

Working with the Right Shade

Contingent upon your taste, style, and financial plan, you can browse over a hundred shades of blue for your kitchen. To be honest, it’s a serious confusion.

Fret not! We will smooth out the nuts and bolts to make it simple for you.

We should begin with the lighter tones.

A portion of the energizing decisions for pale tones include:

• Powder blue

• Robin Egg Blue (Also known as eggshell blue)

• Grayish Blue

• Baby Blue

• Celestial Blue

Such shades are relieving to the eyes and match the casing of a work of art, house, or nation styled kitchen. Moreover, they light up your kitchen in a split second and bestow an extensive touch. They promptly pair up with well with white metro tiles, marbles, and beaded sheets. One can likewise browse mid-tone bamboo, pine, and oak made ground surface and oil-focused on bronze spigots to go with such shades their kitchen.

In the event that lighter tints are excessively unobtrusive for you, you should go with present day blue and white kitchen. A portion of the famous shading decisions in the mid-tone blue class involve:

• Teal Blue

• Tropical Turquoise

• Breezy cornflower Blue

These are incredible shading conceals that draw out an alternate vibe when combined against those light yellow dividers, wooden floors, and against any furniture with a yellow or orange feeling. Moreover, you can likewise present copper-conditioned extras, red blinds, and white backsplashes to praise the encompassing.Together, it will clear a path for an arresting and dynamic search for pretty much any size kitchen.

In conclusion, we have an advanced kitchen that requests a moderate and radical look.Henceforth, more obscure shades of blue function admirably to make those temporary feel stick out.The hazier finish of the scale ordinarily holds the most escalating conceals that are intended to emphasize a kitchen island or the overall border on an entirety. A portion of the intense decisions include:

• Royal Blue

• Sapphire Blue

• Cobalt Blue

• Navy Blue

These shades are tied in with offering a proper standpoint. Henceforth, they fill in as an incredible friend with any dim wood kitchen furniture, sparkly metallic components, or white and extraordinary surfaces.Stone motivated backsplashes and beige dividers likewise work extraordinary.

The thought is to test many quantities of shades to figure out which works the best. Samples are commonly a decent approach.

The Art of Companionship

Like people, the friendship of hues is the thing that has the effect. For example, blue shaker cupboards with dark accents. They resemble mists against a blue sky; a mix endorsed by in all honesty Mother Nature herself.Blue kitchen cupboards are irrefutably commanding, however the consideration of dim projects a differentiating spell that spares it from being excessively bombastic in vain.

Soalso, one can browse a wide scope of blends like Baby Blue and peach or white, Royal Blue with intense shades like pink, red or yellow, blue and orange, and numerous different alternatives.

Breaking the Monotony

Blue kitchen cupboards and blue kitchen may ingrain an alternate look everywhere.Notwithstanding, it is important that you set the parity straight, utilize the topic shading in the correct extents to split away the dullness.

The inquiry is what amount is excessively?

Envision painting your kitchen cupboards, windows, entryways, and dividers all in blue. Does that bode well in any case?

No chance!

The thought is to shun utilizing a lot of the topic shading and ad lib for the correct sort of blend and match design.At exactly that point, you will have the option to accomplish a kitchen you had always wanted where going through hours can be an adorable issue every day.

Wrap up

Since you know a considerable amount about setting your marvelous blue kitchen, it’s an ideal opportunity to place things in real life. Proceed, be selective, be imaginative, and share your experience of structuring your kitchen.

#blue and white kitchen

[newkknagblog]

The Versatility of Thermocol: A Deep Dive into Its Uses and Environmental Impac

Thermocol, also known as Expanded Polystyrene (EPS), is a lightweight and versatile material that has found its way into various industries. In this article, we'll explore the uses of Thermocol, its properties, and delve into the environmental considerations associated with its usage.

1. What is Thermocol?

Thermocol is a type of foam material derived from polystyrene. It is known for its excellent insulation properties, buoyancy, and shock absorption capabilities. The manufacturing process involves expanding polystyrene beads, resulting in the familiar white foam we commonly see.

2. Packaging and Insulation:

One of the primary applications of Thermocol is in packaging. Its lightweight and protective qualities make it ideal for safeguarding fragile items during shipping. Additionally, Thermocol is widely used in the construction industry for insulation purposes, providing energy-efficient solutions for homes and buildings.

3. Arts and Crafts:

Beyond industrial applications, Thermocol has become a favorite material in arts and crafts projects. Its ease of cutting and shaping allows for the creation of intricate designs, making it popular among DIY enthusiasts and artists.

4. Environmental Concerns:

While Thermocol has numerous practical applications, it is essential to address the environmental impact associated with its usage. Being a non-biodegradable material, improper disposal can contribute to pollution. It's crucial for businesses and individuals to explore eco-friendly alternatives and recycling options.

5. Recycling Initiatives:

Several recycling initiatives are being developed to address the environmental impact of Thermocol. Some organizations collect and recycle Thermocol to create new products or contribute to the creation of sustainable building materials. By supporting such initiatives, we can minimize the ecological footprint associated with Thermocol.

Conclusion:

In conclusion, Thermocol's versatility makes it a valuable material across various industries. However, it is vital to balance its benefits with environmental considerations. As consumers and businesses, exploring sustainable alternatives and supporting recycling initiatives can contribute to a more eco-friendly use of this material.

#kknag #kknagarticle

[dippedanddripped]

This holiday season, the hottest place to shop in Los Angeles won’t be on shoppers’ paradise Rodeo Drive, but in a warehouse in the city’s grubby garment district. That’s where A Current Affair, one of the world’s hottest vintage marketplaces, will be on December 7.

High-end vintage fashion is having an unprecedented moment, and A Current Affair’s founder Richard Wainwright – resolutely shy in his thick-rimmed glasses, patterned button-down shirt and jeans – is right in the middle of it.

Wainwright has the perfect pedigree for vintage – he has degrees in fashion marketing and merchandising from the Fashion Institute of Technology in New York, and in history of art from the University of California, Berkeley.

“Vintage has always played a role in my life,” says Wainwright. “I started collecting at an early age. Back then, we didn’t really have ‘

fast fashion

’ so combining items found at thrift stores and yard sales was both a creative outlet and a practical way to afford clothing [that] my parents wouldn’t otherwise buy me.”

Shoppers trying on items at A Current Affair.

When Wainwright started A Current Affair nine years ago, the event had only 17 exhibitors.

“Today, we are now a community of over 200 sellers popping up in Los Angeles, Brooklyn and the San Francisco Bay Area seven times a year, in addition to trunk shows … and we did an event at [department store] Isetan in Tokyo this autumn. There is nowhere else to shop that compares to A Current Affair,” Wainwright says proudly, describing the marketplace’s clothes as “the best vintage on the planet”.

A vintage look at A Current Affair.

Liz Baca, with her fiancé Michael D’Andrade, is the owner of The Goods, an appointment-only showroom of designer vintage clothes in Los Angeles, and a vendor at A Current Affair.

“The vintage marketplace has exploded,” says Baca. “When I began, people didn’t really understand what I did. Today, everyone sells vintage clothing. It’s become mainstream.”

The world of high-end vintage is not what you get at your local second-hand shop. Instead of costume jewellery, old flannels and luggage from the 1960s, it’s more 19th-century lace gowns, 1920s cocktail dresses adorned with hand-sewn bead work and feathers, and chunky solid gold jewellery from the decadent ’80s.

Band shirts can still be found at A Current Affair, but they might set you back several hundred US dollars.

A vintage fur coat at A Current Affair.

A vintage dress at A Current Affair.The appeal of vintage is wide and varied, and pieces are often one of a kind. The chances of you showing up to a party where someone is wearing the same pencil skirt from the 1940s as you are is almost non-existent. And, because of their age, vintage pieces have a story to tell.

Yes, designer threads tell the world that you have plenty of money, but vintage clothes have history – and the romance of a new couture ball gown pales in comparison to that of a century-old silk.

Anyone who isn’t wearing vintage has a one-dimensional view of fashion, and it reads as flat and boring in today’s over-saturated visual environmentA Current Affair’s founder Richard Wainwright

Common criticisms of vintage clothes – that they show wear and tear or look worn – are seen as something to be proud of by many clothes lovers. The patina of an already cherished garment is something that no amount of chemical treatment or factory distressing can emulate.

Broader economic trends are also at work. Retail is in trouble, and bricks-and-mortar stores are struggling to stay afloat across the board – some fast-fashion brands, such as Forever 21, have already filed for bankruptcy and closed their stores.

Meanwhile, A Current Affair feels vital and packed with shoppers – including fashion icons like Donald Glover – on the day we visited a pop-up in September.

“It feels as if we are the only type of fashion retail that is booming,” says Wainwright. “Everyone complains that retail is dead but our shows are very much alive.”

Why are millennials in Malaysia and Singapore deserting H&M?

While some of the vendors at A Current Affair have shops, the majority conduct their business online, or through rented by-appointment-only show rooms. Vintage doesn’t require bricks-and-mortar stores to stay afloat. Social media, especially platforms like Instagram, have been a godsend for vintage purveyors. Instagram offers a way for sellers to display their wares to their targeted audiences anywhere in the world without significant overheads.

“Fashionable people have always turned to vintage, but in this age of social media there is added pressure to have things that no one else does or to combine things in unique ways,” says Wainwright. “Anyone who isn’t wearing vintage has a one-dimensional view of fashion, and it reads as flat and boring in today’s over-saturated visual environment. ”

Vintage sunglasses at A Current Affair.

Vintage is also a sustainable option in a time when people are increasingly aware of the environmental impact and human toll of fast fashion. It is essentially recycling, without the buyer having to bear responsibility for its sourcing and manufacture. And, even if the piece you buy is originally from a large fashion house, the money you spend goes to small business retailers, not large corporations.

Until recently, the biggest obstacle to vintage overtaking traditional fashion was the Asian market, where online statistics portal Statista expects fashion sales to hit almost US$362 billion this year.

Historically, vintage, at the risk of generalisation, just didn’t check the boxes that many Asian buyers are looking for in status clothes: big name label recognition, bleeding-edge trendiness and price tags that are as jaw-dropping as they are widely known. In China (the largest market by far) there are legal restrictions around importing second-hand clothes. There are even superstitions against wearing vintage – like the belief that wearing a dead person’s clothes will upset the original owner’s ghost.

How a fast-fashion boycott could help save the world

This is changing fast. Japan has long led the way in Asian interest in vintage, with

Tokyo now a mecca for the most dedicated vintage enthusiasts

. This fervour, however, is global. There are major vintage markets in many Asian metropolises, including Bangkok, Beijing, Tokyo and Seoul, that are often considered just as hip as – or even more hip – than big label stores or glitzy shopping districts.

After English, the most commonly spoken language at the A Current Affair pop-up in Los Angeles in September was Mandarin. A Current Affair also hosted its first Asian pop-up event in Tokyo last month, presenting more than 500 vintage pieces curated for the Japanese market to eager crowds in the city’s Shinjuku neighbourhood.

“I have certainly noticed an interest in vintage clothing spread in the Asian markets,” says Baca. “These days, interest there is just as widespread as other markets. I see it only growing bigger.”

A vintage dress at A Current Affair.

The global shift towards vintage over fast fashion in the last few years has been drastic, and is poised to accelerate further still.

New York University business professor Scott Galloway predicted, as reported in the Australian newspaper Sydney Morning Herald last month, that global second-hand clothes sales will overtake fast fashion within nine years – and the numbers bear this out.

In 2018, according to Statista, the American vintage clothing market was worth US$24 billion, compared to US$35 billion for fast fashion. In nine years, analysts expect the second-hand clothes industry to reach US$64 billion, with fast fashion trailing at US$44 billion.

A vintage fur coat at A Current Affair

“Vintage has gone mainstream, especially with the endorsement of celebrities wearing vintage on the red carpet,” says Eddie Paul Friend of Lust and Fond, a California-based vendor at A Current Affair.

Those celebrities – like Zooey Deschanel, Christina Hendricks and Aya Cash – also show off their latest fashion finds on Instagram, where they are as likely to shout out to their favourite vintage shops as they are to their favourite labels.

Even high-fashion icons like Kate Moss have come out as proud vintage shoppers. October saw the release of Musings on Fashion and Style: Museo de la Moda , a book Moss collaborated on that serves as a paean to her favourite vintage pieces and looks.

“The buyer has changed,” says Baca. “Used clothing has become socially acceptable, so now you see all ages, financial backgrounds and races buying vintage clothes.”

This article appeared in the South China Morning Post print edition as: How vintage is fast becoming A Global trend

#japan #vintage #vintage fashion #fashion blog #streetwear blog #urbanwear blog #a current affair