natural motif

What’s In a Motif? Part 4

It’s back after a long hiatus! While I thought about doing common motifs and then working towards more obscure ones, I figured I’d do a mix of common and uncommon ones as it makes you look out for these motifs more often and understand the meaning behind them. This entry used to be quite common on high class kimono, but is a bit more uncommon now.

Views of The Nobility - 御所時/御所解 (Goshodoki)
Rarity: Uncommon to Rare
Season(s): All

Goshodoki is a really interesting motif as it’s not even close to what we would call “static” - it’s a combination of both seasonal and all-season motifs. Looking at the example in black: it has waves, grasses, bamboo, pine, maple leaves, and fishing nets. The middle example has grasses, waves, maple leaves, pine, chrysanthemums, bamboo, and wheat sheaves. The right example has maple leaves, cherry blossoms, pine, and clouds. All are different yet all are Goshodoki. So, how can we tell that what we’re looking at is Goshodoki and not just a compilation of motifs?

-All motifs are roughly the same size
-All motifs flow together without break
-All motifs are painted in white and then accented with color 

The last part is the basis on which Goshodoki was founded - it started as a fashion statement for the nobility (hence the name “views of the nobility”) and is now seen as a classical theme for kimono. Having the motifs painted in white and then having some select parts colored in, either with ink or embroidery, expresses a person’s ability to understand the natural world and the fleeting nature of life. 

arya + trees

And how she smiled and how she laughed, the maiden of the tree. (ASOS)

arya’s has a strong nature motif in her storyline because of her wild temperament. she spends most of her time in the great outdoors too. which is usually less fun than it sounds but she perseveres. arya likes the feel of the earth beneath her feet. she’s a wolf girl and the forest is her place. she’s also connected to dozens of animals, the moon, water, and trees.

“I look like an oak tree, with all these stupid acorns.”
“Nice, though. A nice oak tree.” (ASOS)

she has a significantly cute scene where she’s dressed up in a dress embroidered with acorns and gendry says she looks like “a nice oak tree”. acorns are nuts and within them are the seeds mighty oak tree grow from. they’re a symbol of potential; that even something so small could grow into something so powerful. which i think is a pretty good representation of arya’s character. since gendry is the one who gives arya the compliment it could be interpreted that their relationship is an acorn too for the same reasons. its started off as a young friendship but it could grow into something so much more. 

The next day they rode to a place called High Heart, a hill so lofty that from atop it Arya felt as though she could see half the world. Around its brow stood a ring of huge pale stumps, all that remained of a circle of once-mighty weirwoods. Arya and Gendry walked around the hill to count them. (ASOS) 

it was believed oaks could withstand any storm. because of this they represent strength, stability and life. the oak was scared to the celtic druids who seem to be one of the inspirations for the northern religion. the people of the north are seen as “tree worshiping savages” because they pray before weirwoods. trees of white bark with red leaves and faces. arya is among the tree worshipers. she follows the old gods and they play a surprisingly active role in her story. 

Through the leafy canopy she could see the bone-white branches of the heart tree. It looks just like the one in Winterfell from here. If only it had been … then when she climbed down she would have been home again, and maybe find her father sitting under the weirwood where he always sat. (ACOK)

arya also visits high heart, a scared place to the children of the forest, where a grove of weirwoods once stood. she climbs trees often and is referred to as a squirrel. we see her pray to the old gods in the godswood of harrenhal where there is a heart tree. arya kneels before the weirwood and asks the gods for guidance….and by some miracle they respond. in twow the trees are still watching her in her dreams even while arya is far away in a city where no trees grow. they are calling her true name. 

In the godswood she found her broomstick sword where she had left it, and carried it to the heart tree. There she knelt. Red leaves rustled. Red eyes peered inside her. The eyes of the gods. “Tell me what to do, you gods,” she prayed. 

For a long moment there was no sound but the wind and the water and the creak of leaf and limb. And then, far far off, beyond the godswood and the haunted towers and the immense stone walls of Harrenhal, from somewhere out in the world, came the long lonely howl of a wolf. Gooseprickles rose on Arya’s skin, and for an instant she felt dizzy. Then, so faintly, it seemed as if she heard her father’s voice. “When the snows fall and the white winds blow, the lone wolf dies, but the pack survives,” he said.

“But there is no pack,” she whispered to the weirwood. Bran and Rickon were dead, the Lannisters had Sansa, Jon had gone to the Wall. “I’m not even me now, I’m Nan.”

“You are Arya of Winterfell, daughter of the north. You told me you could be strong. You have the wolf blood in you." (ACOK)

when arya asked the heart tree, the old gods, what to do and where to go they made their judgement clear: arya belongs in the north with her pack.  arya has spent most of this series adrift, like a seed blowing in the wind, but her strong association with trees suggests to me that she’ll eventually put down roots.

Hozier is Edgar Allan Poe

I know it sounds a little crazy on the surface, but really think about it for a minute and you’ll see how exactly 100% correct I am.

First, consider the following themes and motifs: magic, nature, grief, sin, love, death, death, death, the subversion of everything you thought you knew. Consider the tenuous thread connecting love and joy. Consider the stronger thread connecting love and sadness. 

Consider how both Hozier and Poe understand your innermost feelings in exactly the right way. Consider being twelve years old and reading “Annabel Lee” and crying, and being nineteen years old and listening to “Work Song” and crying, and feeling a strange familiarity. 

Consider also the following quotes (italicized is Hozier, bolded is Poe, not that it matters, because they’re the same): 

  • the way she shows me I’m hers and she is mine 
  • all I loved, I loved alone
  • honey don’t feed it; it will come back
  • deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dream no mortal ever dared to dream before
  • offer me that deathless death; good God, let me give you my life
  • sleep, those little slices of death
  • only blue or black days
  • years of love have been forgot in the hatred of a minute
  • there’s something wretched about this, something so precious about this; oh, what a sin
  • invisible things are the only realities
  • I had a thought, dear, however scary, about that night, the bugs and the dirt / why were you digging, what did you bury, before those hands pulled me from the earth?
  • deep in earth my love is lying, and I must weep alone
  • when my time comes around, lay me gently in the cold dark earth / no grave can hold my body down, I’ll crawl home to her
  • neither the angels in heaven above nor the demons down under the sea can ever dissever my soul from the soul of the beautiful Annabel Lee
  • the blood is rare and sweet as cherry wine
  • this is a world of sweets and sours

I could go on, but I think I’ve made my case. Hozier is Edgar Allan Poe - reincarnated? Immortal with some cosmetic alterations? Possessed by his ghost? We may never know. All we know for certain is that Poezier’s dark influence is too powerful and I hope there’s not more than two of him.

heyo! i’ve done some more zestiria world guidance translations, this time of the world timeline page. it includes the names of the eras, their timespan (some don’t have one), and main details about the events of that era. the page had the ‘main events’ column, and then another column out to the side for most of them with more details about it, so i’ve separated those with “//”. i only know a few of the localized terms for these names, so most of these are translated straight from the japanese version. if you know any of the localized terms for these things, feel free to pm me them and i’ll fix it!

also please be aware this contains major spoilers, so don’t read this unless you’ve finished the entire game. it’s under the cut!

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anonymous asked:

Aah, hey!! I'm doing a SU rewrite comic, and I'm making Connie more of the focus than Steven. I was wondering if you had any advice for incorporating Indian culture without it coming across as racist? Thank you so much!! I love your blog lmao...

hey there! this got pretty long so i’m gonna put it under the cut.  there’s a lot to say in regards to this, so apologies if it seems jumbled or anything! here goes nothing:

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Anonymous said:

My favorite novels encourage readers to read between the lines. But when I try to write like that, beta readers get entirely the wrong idea, or frustrated enough to throw the story away. How do you properly infer something without spelling it out? Or should I just use an omniscient narrator that tells the reader what the clues are and what they add up to?


This is a difficult thing to define, because “reading between the lines” can mean a lot of things with fiction. Literature classes teach us to do this, and we learn about wordplay, foreshadowing, theme, motifs, and symbolism, and we’re taught how to interpret these things so that we can better understand what we’re reading. What’s funny about that, though, is that you’ll go on to discover that the author never intended for those things to be interpreted that way. These things either came about naturally or people are seeing what they want to see. So, I think this type of “reading between the lines” is not something you should think too hard about as a writer. Don’t force it. If a natural symbol, theme, motif–whatever–comes about as you are writing, definitely run with it, but don’t ram it down anyone’s throat. It’s better that a reader not see it than for it to be obvious.

When it comes to “reading between the lines” with things like clues and foreshadowing, though, there’s a delicate balance that must be achieved. Let’s say you’re writing a murder mystery, and you’re trying to deflect suspicion away from the real killer. That’s great and all, but there still have to be subtle clues that point to the real killer. Otherwise you’re cheating. When the killer is revealed, the reader needs to be able to think back to all the clues that pointed their way, even if they didn’t realize it at the time. You want those kinds of clues to be subtle in the moment but obvious in retrospect. If the narrator bludgeons the reader with the clue–HEY! LOOK AT THESE MUDDY SHOE PRINTS TED IS LEAVING! LOOK AT THEM! LOOK AT THEM! WHERE WAS HE? WHY WAS HE SOMEPLACE MUDDY WHEN HE WAS SUPPOSED TO BE AT THE OFFICE? THIS IS SUSPICIOUS! LOOK AT THEM!!!!–the reader is going to suspect Ted of being the murderer, and may figure it out well before the big reveal. That ruins the fun. But, on the other hand, you don’t want to gloss over it. Ted reached down to wipe a smudge of dirt off the top of his shoe and said, “I’m late for my meeting. Let’s go.”  A smudge of dirt on the top of his shoe is nothing. When Ted is revealed to be the killer, no one will remember the smudge of dirt and think, “Yes! That must have happened when he buried the body.” Instead, you want to make it more obvious while making it seem like no big deal. 

The sole of Ted’s shoes were encrusted with mud, probably from having to park in the unpaved satellite lot this morning. “Did you get stuck in Z-Lot today?” 

He looks at me for a moment, a blank, blinking stare. “Oh–yeah,” he says finally. “And, of course it rained last night,” he adds, gesturing to the mud on his shoes.

This makes the mud suspicious for a moment, but then explains it away. Later, the MC can see Ted’s car in the main lot, so the MC can think, “He must have gone out to move it at lunch.” And that’s that. But, later on, when clues and lies and things start to stack up, and we find out Ted is the real killer and he stalked across a muddy field that morning after hiding the body, then the MC and the reader can think, “So THAT’S why his shoes were muddy.”

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Have a writing question? I’d love to hear from you! Please be sure to read my ask rules and master list first or your question will not be answered. :)

The Day and Night AU reference compilation

To be updated as I find fabrics and with my outfit breakdowns, etc. 

Debut: Otakon 2017 or Winter 2017 (tentative)

So I fell in love with @beanpots Viktuuri Au where they’re Day and Night and I asked if I could take their art and make it. I just checked and saw that a few days ago? they gave me permission (and posted outfit designs for Otabek, Yuri, and Pichit!) I’m really excited for this, like it’s ridiculous how excited I am. But this will be my run of references, notes and thoughts as I start planning the outfit. So feel free to skip, I’ll be posting WIPs as soon as I start making the outfits.


VIKTOR:

Gold/bronze braid -  appears military grade. study dad’s old uniform, see where it can be purchased, find design and braid self? Think more on this.

Cape - learn how to ombre dye fabric, pale blue to royal blue/pale yellow to orange. Soft fabric, fleece or fur?

Crown - seven (7) points, same gold/bronze as braiding/metal detailing. further detailing to be decided

Man dress - either find a matrix pattern or cut at knee length and pair with boots and pants? lined in white. turned up cuffs? Cuff edged in gold braid, white lining visible. Buttons for ease. 

Detailing -  cape chain is darker metal, standing collar. Peacoat type closure? Shoulder boards need some thought. Is a nod to the British royal family military uniforms. Braid does NOT go behind shoulder


YUURI:

Cape - lined in pale gray. high collar, should be freestanding. Slight ombre from top to bottom. Hand paint stars, constellations and galaxies?

Bottom - empire/high waisted, tied with cord. Navy/midnight colored fabric under mesh with stars. Hand paint stars for ombre, add crystals for extra glam. Decorative tie in back?

Top - Leotard base, covers back of hand, middle finger loops to keep this length in place. Wide neck overlayer. Long kimono sleeves.

Crown - constellations or random stars. wire and light string (more thought needed)

Detailing - choker out of velvet with interchangeable moon focal pieces (references somewhere on hard drive)

YURI(O):

Cape - ombre, mix of Viktor’s colors to Yuuri’s lighter blue. Attached at shoulderboards (more thought needed for this). Lined int pale pink to orange ombre. 

Dress - Simple floor length design, bishop sleeves with simple cuff (buttoned on side for ease). fitted through torso. simple round neck or collared v neck? Where skirt starts at waist slight ombre from orange color of inner cape to pale pink. Midweight cotton?

Vest/waist coat - Same color as the bottom of his outer cape, simple closure along front. v neck. cape part of vest? collar attached for structural support?

Detailing - shoulder boards are done in the same color as Viktor’s metal detailing. Pin appears polished and brighter, gold braided rope. through shoulder board fixment. Navy/midnight blue of  Yuuri’s top as sash.


** Keep undergarments light as possible to avoid overheating with the layers.

** Capes should be midweight

** Look into fabric detailing and keep it natural, vines/leaves for Viktor and Yuri. Dark on dark detailing on Yuuri but still natural motifs. 

warlock headcanons

Warlocks give up pieces of themselves when they impart their souls for power. Their physical appearances change, and each patron imparts a distinct set of differences. Warlocks almost always have their hair go white before their time, and their blood is tainted black for the evil they allow into themselves.

Archfey
Glowing eyes, often of bright and neon colors correlating to the Fey’s Court. The Prince of Frost might impart bright blue, while the Queen of Air and Darkness might impose a vibrant violet. Sometimes other beautiful glowing marks form on their skin, such as nature motifs the Fey is associated with.

Fiend
Black scleras, red eyes, and glowing red cracks in the skin, sometimes fanged teeth. Fiends take much, much more in exchange for their power. Demonic patrons impose much more than their lawful counterparts in Devils, but they all make their subjects known and distinct.

Great Old One
The Old Gods are eldritch abominations, and their subjects become as such. Whited out eyes, and hands that turn black as the night sky, writhing darkness crawling up their arms. The insides of their mouths turn just as black, and the white of their teeth stands out like stars in the night sky.

Hexblade
Deep, dark red scars are cut across the body, like fresh combat wounds imparted by their sentient patrons. Their skin grows tough and thick, and its texture is rough like stone.

Raven Queen
The Raven Queen’s subjects look the most like death, with their eyes, ears, and mouths going completely black like hollows, darkness spreading from their orifices like veins. Their skin goes cold and clammy and loses the luster of life.

Seeker
Seekers do not take much from their subjects, but their eyes fill with galaxies, and their skin takes on a cold and grey pallor, with pale freckles like stars.

Undying Light
The Light’s subjects have golden light that spills out of their eyes like spotlights, and their mouths glow equally bright. Their voices sound like hundreds of others speak when they do.

anonymous asked:

How about some reactions/headcanons about Shikamaru, Neji, Gaara, Sasuske, Naruto and Rock Lee handling their s/o being a professional dancer and dancing in a very intimately/romantic matter with her male co dancer during the shows and practices.

Now, normally anon, we only take up to 5 person group requests. It states so in our rules. This help’s us as authors to dedicate an equal amount of time on everyone’s requests while also staying within a reasonable world limit (something I am obviously not good at) 

But I will make an exception this time seeing how this is a very interesting scenario and proved entertaining to write. So entertaining that it takes up 10 full pages in my documents. In the future, however, do keep our rules in mind. They are there for a reason…

As a side note this fic will also be the first posted to accommodate a new feature we’ll be bringing to the blog. Everything is below the cut as usual but we’d love to hear what you think about it.

Happy Valentines Day Everyone! 

~Mod Whipski

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Architecture (Part 1): Ancient Egyptian Mastabas

Menes was the first pharaoh of Egypt, uniting Upper & Lower Egypt into a single kingdom.  This was the beginning of the Old Kingdom era (3200-2680 BC, and of the 1st Dynasty.  Egyptian architecture began to flourish during this time.

The Egyptians believed that life on earth was temporary, but the spiritual life was eternal.  Therefore, the religious monuments needed to last.  While Ancient Egyptian palaces and houses have collapsed over the centuries, the religious buildings have endured for longer.  The tomb was the gateway to the afterlife, and the temple housed the gods.

The mastaba was the tomb.  It is Arabic for “stone bench”. They were designed with the same plan as an Egyptian house.

It was a regulated mound with several small rooms, built over a broad pit (so it was underground and above ground).  This gave space for the dead person and their provisions for the afterlife.  The central room had the sarcophagus, and the surrounding rooms contained funerary offerings.

The walls sloped inwards.  Wooden/mud-brick pillars were first built, then covered in rubble, and finally walled in mud-brick.

4th Dynasty mastaba.

Entrance to the Mastaba of Ti (5th Dynasty).

4th & 5th Dynasty mastabas.

Mud-brick was the usual material for domestic buildings in Egypt.  It was made from a mixture of mud and straw.  It was excellent for building in the arid climate, and the Mesopotamians had used it for their ziggurats.

The royal mastaba often had a mud-brick façade around it, with alternating projections & recessions.  This probably copied the timber panelling of the early palaces.  The façade was often painted in bright colours, and traces of this survive.

Reconstructions of 1st Dynasty mastabas.  Both are attributed to Queen Merneith.

But during the 3rd & 4th Dynasties (2780-2565), attention moved away from the mastaba’s exterior and towards its interior, for security reasons.  The exterior became simpler.  The burial chamber was sunk deep into the rock, and security measures such as stone portcullises were added.

A false door was usually on the tomb’s eastern side, facing the Nile. This allowed the deceased’s spirit, or ka, to enter & exit the tomb as it pleased, and travel upon the river.  It was made of mud-brick or stone, as an imitation of the façade’s wooden door.

False door (6th Dynasty).

During the 4th Dynasty (2680-2565), non-royal mastaba cemeteries were built near/around royal mastabas.  These non-royal tombs contained high officials, and the tombs were probably an honour bestowed on them by the pharaoh.  A small chapel was included – often a simple niche with an offering table for dedications to the deceased, on the outside of the mastaba.

The most sophisticated tombs had many chambers inside them, as a full-scale residence for the deceased, as well as a gateway to eternity.  The rooms were decorated with scenes of daily life, and natural motifs.  They depicted the afterlife as an “idealized parallel to Egypt”.  These rooms included storerooms, a chapel, resting places, and dining areas.

The following photos are all from the tomb of Merefnebef (6th Dynasty).

Fishing scene & marsh scene.

Jewellery workshop.

Merefnef sitting with one of his wives, watching harpists & dancers.

Merefnebef (II) and his wife Hemi, seated before offerings.

Hieroglyphic list of offerings.

Figured I’d make one of those guides to whether or not you’ll like a Precure season if you watch it, if only because I’ve seen them all. Since there are so many, though, this’ll just be brief, with small overviews and then reasons why you may or may not want to watch it. If nothing stands out for you, start with an All-Stars movie or other part of the crossover compilation, but beware of spoilers for the series if you do.

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