#World Heritage Crafts

[inheritagex]

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[theknitpotato]

The "Wasserspiele" (water features) are part of the Mountain Park (Bergpark) Wilhelmshöhe in Kassel. What you see in the photo are the great cascades, but the park has many more water features like waterfalls and basins.

The park was put on the UNESCO World Heritage list 11 years ago, on June 23, 2013. It is the largest mountain park in Europe with 2.4 sq kilometers.

The park's main features are the Wasserspiele, the Herkules Statue (you can see it on the photo in the back), the Palace Wilhelmshöhe, and the pleasure palace (Lustschloss) Löwenburg. It also has a so-called "Teufelsbrücke" (Devil's bridge).

The landgraves and prince-electors of Hesse-Kassel began creating the park in 1696 and over the next 150 years it was expanded. It combines different styles of landscape architecture (Italian, French, English garden designs) and architecture.

Photo: Von Baummapper - Eigenes Werk, CC BY-SA 3.0 de

[whereishermes]

The Art of Greek Vase Painting

Greek vases and pottery was well-known for its quality and was widely exported throughout the Mediterranean. The techniques used by ancient Greek ceramists required thorough shaping and decorating processes that were the result of years of training under master potters.  The Vase – Making Process: From Clay to Form The techniques Greek ceramists used to shape and decorate fine vases required…

[greenthestral]

Empowering Women Artisans: Celebrating Creativity and Equality

In today's world, women continue to break barriers and shatter glass ceilings in various fields. One area where their contribution is often overlooked but incredibly significant is in the realm of artisanship. Women artisans play a vital role in preserving cultural heritage, fostering creativity, and driving economic growth. This article aims to shed light on the incredible work of these women and the importance of empowering them to thrive in their craft.

The Rich History of Women Artisans

Throughout history, women have played a significant role in artisanal trades, showcasing their remarkable creativity and skill across various crafts. From pottery and weaving to jewelry-making and embroidery, women have served as the custodians of artistic traditions, passing down their knowledge and expertise from generation to generation. These crafts not only contribute to the cultural fabric of societies but also serve as a crucial means of economic sustenance for countless women around the world.

In every corner of the globe, women have been instrumental in preserving and advancing traditional artistic practices. In many cultures, pottery has been a craft passed down through generations, and women have been at the forefront of this art form. From shaping the clay to adorning the finished pieces with intricate designs, women artisans have demonstrated their mastery of this ancient craft. Their delicate touch and attention to detail have resulted in exquisite pottery that reflects their cultural heritage and artistic sensibilities.

Weaving is another craft where women have played an integral role throughout history. Whether it's creating intricate patterns on textiles or crafting beautiful rugs and tapestries, women have honed their weaving skills to perfection. In many indigenous communities, weaving has been an essential cultural practice, and women have been the primary weavers, using age-old techniques and traditional looms. Their creations not only showcase their artistic abilities but also serve as a means of preserving cultural narratives and identities.

The art of jewelry-making has long been associated with women artisans who possess a keen eye for design and a deep understanding of materials. From crafting exquisite necklaces and earrings to intricate bracelets and rings, women have elevated jewelry-making to an art form. Through their work, they infuse pieces with personal stories, symbolism, and cultural motifs, creating wearable works of art that carry a piece of their heritage.

Embroidery, too, has been a craft dominated by women artisans. With a needle and thread, they transform plain fabrics into stunning works of art, embellishing them with elaborate patterns and intricate stitches. Embroidery has traditionally been used to decorate clothing, household items, and ceremonial garments, and women have excelled in this meticulous craft, showcasing their creativity and attention to detail.

These crafts have not only contributed to the cultural heritage of societies but have also provided economic sustenance for countless women artisans around the world. In many communities, artisanal trades have been a primary source of income for women, enabling them to support their families and create a better future for themselves. By engaging in these crafts, women have gained financial independence, empowered themselves, and contributed to the economic well-being of their communities.

Moreover, these crafts have often provided a safe and supportive space for women to express their creativity and forge connections with their cultural roots. They offer an avenue for self-expression, allowing women to showcase their artistic talents and leave a lasting impact on their communities. Through the act of creating, women artisans find a sense of fulfillment and purpose, as they channel their passion and skills into their craft.

It is crucial to recognize and celebrate the invaluable contributions of women artisans throughout history. Their creativity, skill, and dedication have enriched our societies, preserved cultural traditions, and provided economic opportunities. By empowering women artisans and ensuring their work receives the recognition and support it deserves, we can create a more equitable and inclusive world that values and celebrates their talents. As we continue to appreciate the artistry of women artisans, let us also strive to provide them with the resources, training, and platforms they need to thrive in their chosen crafts.

Challenges Faced by Women Artisans

Despite their immense talent and dedication, women artisans face numerous challenges in their pursuit of artistic expression and financial independence. Discrimination, limited access to resources, lack of market opportunities, and gender-based violence are some of the obstacles that they encounter on their journey.

In many societies, women face cultural and social barriers that hinder their ability to engage fully in artistic pursuits. Traditional gender roles often confine women to domestic responsibilities, leaving little time and support for them to explore their artistic potential. Moreover, limited access to education and training programs further exacerbates these challenges.

Lack of financial resources and market opportunities pose significant hurdles for women artisans as well. Without access to credit or capital, they struggle to invest in tools, raw materials, and infrastructure necessary for their craft. Additionally, gender bias in the marketplace can prevent them from gaining fair recognition and adequate compensation for their work.

The Importance of Empowering Women Artisans

Empowering women artisans is not just about ensuring gender equality; it is a vital step towards sustainable development and cultural preservation. When women are given the necessary support and opportunities, they can contribute significantly to economic growth, poverty reduction, and community development.

By empowering women artisans, we can unlock their creative potential and nurture innovation. Their unique perspectives and skills can enrich artistic traditions, leading to the creation of diverse and culturally significant artwork. This, in turn, fosters a sense of pride and identity within communities while also attracting tourists and buyers interested in authentic, handmade crafts.

Furthermore, empowering women artisans has a multiplier effect on society. As women gain financial independence and improve their living standards, they can invest in the education and well-being of their families. This creates a positive cycle of empowerment that extends beyond the individual and contributes to the overall progress of communities.

Initiatives for Empowering Women Artisans

Recognizing the significance of empowering women artisans, numerous organizations and initiatives have emerged to provide support and create opportunities for these talented individuals.

Microfinance institutions and nonprofit organizations play a crucial role in providing financial assistance and training programs to women artisans. By offering microloans, these institutions enable women to invest in their craft and develop their businesses. They also provide training in entrepreneurship, marketing, and financial management, equipping women with the skills necessary to thrive in the marketplace.

Government policies and programs also play a crucial role in empowering women artisans. By implementing gender-responsive policies, governments can create an enabling environment that supports women's entrepreneurship and access to markets. Initiatives such as setting up women-centric artisanal hubs, organizing exhibitions, and providing platforms for skill-sharing and networking can significantly boost the visibility and market reach of women artisans.

Furthermore, consumer awareness and conscious buying practices can contribute to empowering women artisans. By actively seeking out and supporting businesses that prioritize fair trade and women's empowerment, consumers can contribute to creating a more equitable marketplace. Social media platforms and e-commerce websites have become powerful tools for connecting women artisans with a global audience, amplifying their reach, and creating sustainable market opportunities.

Success Stories of Empowered Women Artisans

Across the globe, there are inspiring stories of women artisans who have defied the odds and achieved remarkable success in their craft.

One such example is Fatima, a skilled ceramic artist from a rural village in Morocco. With the support of a microfinance organization, she was able to establish her pottery workshop and train other women in her community. Today, Fatima's intricate ceramic artwork is highly sought after, and she has become a role model for aspiring women artisans in her village.

In India, organizations like the Self-Employed Women's Association (SEWA) have been instrumental in empowering women artisans. SEWA provides training, access to credit, and market linkages to women engaged in various crafts such as embroidery, weaving, and block printing. Through their efforts, thousands of women have gained financial independence and transformed their lives.

Conclusion

Empowering women artisans is a powerful step towards building a more inclusive and equal society. By addressing the challenges they face and providing them with the necessary support and opportunities, we can unlock their creative potential, contribute to economic growth, and preserve cultural heritage. Through microfinance, training programs, policy reforms, and conscious buying practices, we can collectively work towards a future where women artisans thrive and their invaluable contributions are celebrated. Let us stand together in empowering women artisans and create a world that values and nurtures their creativity.

[inkies-art]

obligatory mlp au for gravity falls. i have a small comic ab stan losing his horn coming up too. more headcanons below

Dipper is an earth pony, Mable is a unicorn, the Stan twins are both unicorns

the younger twins have more earth pony heritage while the Stan twins have very little

Mabel only really knows craft related spells

Ford is one of the most powerful unicorns in the world

Stan used to have decently powerful magic, lost almost all of it when his horn was smashed

the only time Stan can use magic are when his emotional state is very heightened and he acts on instinct. it leaves him so exhausted and if he pushes himself too hard he could get very sick

when Stan uses magic after his horn is smashed his body will leak/ooze pure magic

Stan's flank was scarred by himself long before he got a cutie mark to avoid people identifying him with it. nowadays Mabel will paint something new on his flank everyday, he likes that it adds to his mystery

Ford gained bills arms winding down his legs and connected to his cutie mark after making a deal with bill, a permanent reminder of the mistake he made

Ford lost his tail while he was in the portal, isnt too heartbroken about it since it was just causing him issues in the portal

Ford's journals have a silhouette of a unicorn with two horns instead of a 6 fingered hand

Dipper is insecure that he isnt a unicorn and has trouble keeping up with Ford on adventures sometimes, Ford has no issue helping Dipper along with him when he needs to and is just happy to have someone on and adventure with him again

Mabel paints her hooves bright colors

[shutupineedtothink]

Trial order and why Lilia, not Agatha, is last (not counting Rio)

Kay, so I got another off-the-wall theory for you, this time around the order of the trials and why Lilia, not Agatha, is actually going to be last (if we don't count Rio). It goes back to maiden mother crone and some of the trauma/generational trauma stuff I already talked about in a previous post. As with The Road, continue at your own peril.

Right so I couldn't get this idea of maiden mother crone, intergenerational trauma, dealing with the long history of violence toward witches thing out of my head that the show is doing. And I think we've all been assuming that Lilia's trial will be next, saving Agatha and probably Rio for last, because those are standard main character of a TV show rules.

But the more I think about it, the more weight I feel like Lilia's journey carries for this overall theme of trauma toward witches and the history of witches, etc. She seems to have the most intense connection to the pain of witches past, like old-world witch stuff, and she's the one who's brought up multiple times that witches aren't really as they've been portrayed, there's all these negative stereotypes, etc etc. And she's sick of it. She's lived through it for the longest of all of them (again, leaving whatever Rio is out of it).

Idk, something that big, addressing the long history of violence toward witches and witch stereotypes, that feels like you have to deal with it last. That's a culmination of all the witch references, pop culture and otherwise, the show has been making, of which there are MANY.

So I thought ok, for funzies, let's assume Lilia's last, which puts our trial order as follows: Jen -> Alice -> Agatha -> Lilia (and I guess true last would be Rio but I'll get there in a second).

Assuming that order, something else pinged for me: maiden mother crone. Another massive theme in the show, portraying these generations of witches and women in general, and again, for reasons I can't explain, it really feels like it has weight to me. Like they're doing something with it.

So leaving Jen aside for a second, don't worry I'll come back to her, that makes Alice our maiden. Her role, particularly in the context of her trial, is the role of daughter. She's also the youngest of the witches, as far as I can tell. She's even coded as kind of the rebellious one, the young angry one who still hasn't quite accepted her heritage, until after her trial, she does.

Agatha is the mother. We are really going for the mother/child relationship with her and Teen, and of course dealing with her son's death and whatever part she played in it. I would assume her trial will be about that, but we could also be saving that for the end. The mother is also the connector generation between maiden and crone, so maybe there's something there about Agatha fully stepping into the leader role of the coven, and accepting these women around her, idk.

Lilia, the eldest, is our crone. She carries the true history and memory of generations of witches with her, she has lived the longest through the most trials. She is the most experienced in the craft and takes it the most seriously. The journey is hers to end.

Except -- we have two other players left. Jen, who kicks off the trials, and Rio, who I'm assuming doesn't really have a trial but will be there at the end... because, you know. 💀

So why would Jen be first? What comes before the maiden?

And then she said it herself.

"I never fully identified as a witch. I am an 11th-generation root worker and midwife."

This one line almost puts her in a similar category to Rio, at least thematically. She's a witch but also more, neither and both. And she's a midwife, someone who helps facilitate birth. Someone who, at her best, supports and sustains life. Someone who allows the first phase of life, the maiden, to come into being.

And guess who that leaves us with at the end, the opposite bookend to Jen's life-giving power -- the mistress of death herself, Rio. The one to which all life must eventually return.

The trials aren't just about elements, or moon phases, or even different witch specialties, they're taking us through the stages of a witch herself. The stages of ALL women really (whether you are an actual mother with children or not, the mother phase is mid-life). Linking us all together, generation after generation.

So in this theory, the trials go like this:

Jen -> Alice -> Agatha -> Lilia -> Rio

Birth -> Maiden -> Mother -> Crone -> Death

Even the moon phases line up. Full moon is birth, a full-term pregnancy and then birth. Waxing moon, growth, renewal, hope, promise -- the maiden. Half moon, mid-life, no longer maiden, not yet crone, the in-between -- the mother. Waning moon, the last quarter of life -- crone. New moon, darkness, returning to the void -- death. They're playing fast and loose with the moon phase order, so I am too.

I can probably fudge the elements here too, but it's a little harder mostly because I don't know what Agatha's element is. I heard someone say spirit, but idk.

Anyway, what do you think? Am I on to something here? Batshit crazy? Would love to hear your thoughts in comments. :)

[germanpostwarmodern]

The built manifestations of Brutalism, despite their omnipresence on social media, remain controversial: especially in Europe they are loved by some and hated by many. In other parts of the world opinions aren’t as polarized and Brutalism simply a part of the built environment, e.g. in Japan. Okinawa-based photographer Paul Tulett has been exploring the Japanese brutalist heritage for years and in his new book „Brutalist Japan“, recently published by Prestel, points to the particular appeal concrete had in postwar Japan: it offered seismic safety, was resistant to termites and easy to pour in form and via the shuttering boards also left room for the skilled Japanese wood crafts. At the same time the Japanese tradition for leaving natural materials rough and raw played in the hands of „béton brut“ that, as Tulett explains, became „béton nécessaire“.

The former’s gradual aging and the acceptance thereof agains roots in Japanese tradition, i.e. the concepts of „wabi sabi“ and „mono no aware“ which embrace the beauty of imperfection and describe the ambivalent awareness of the fleeting nature of beauty. Against this background and Tulett’s introduction to Japanese philosophies it becomes easier to understand why Brutalism is a lot less controversial in Japan than it is in other parts of the world and never disappeared. Accordingly the buildings gathered in „Brutalist Japan“ date from the 1950s to the present day and offer a comprehensive panorama of Brutalism in Japan: in brilliant photographs Tulett shows classics like Kenzo Tange’s Hiroshima Peace Memorial Museum (1955) and Setagawa Ward Office (1959) or Le Corbusier’s National Museum of Western Art (1959) but also a plethora of little-known buildings. And they are compelling: the fortress-like Tanimura Art Museum (1983) by Togo Murano, the Keihan Uji Station (1995) by Hiroyuki Wakabayashi or the Okinawa Prefectural and Art Museum (2007) by Ishimoto and Niki Associates demonstrate the masterful use of raw concrete while also dealing with Japanese history and traditions.

This beautifully crafted mix of buildings makes the book a great read and an eye-opening survey of Japanese Brutalism. Highly recommended!

[teawithmagician]

Lonely Mountain = Armenia

I have a take to make: Armenian culture is very similar to how I would imagine the culture of the Dwarves of Lonely Mountain.

When you think of the halls of Erebor, images of grand stone halls, intricate metalwork, and proud, resilient people come to mind.

Interestingly, this mental imagery resembles Armenia, a rich and ancient civilization in the Southern (that is important - Armenians are not Caucausians per se, like Georgians and/or Dagestanians) Caucasus region. From the stone-borne proud spirit of the Armenian people to their architecture and traditional clothing, there are fascinating parallels between the two cultures, real and fictional.

1. Architecture: Stone, Fortresses, and Underground Structures

The Dwarves of Erebor are renowned for their skill in mining and stonework, creating vast underground cities with intricate carvings and fortifications. Similarly, Armenian architecture is marked by the use of stone, with many historical fortresses, churches, and monasteries built using basalt, tuff, and other locally sourced materials. These buildings, often nestled in mountainous regions, reflect a deep connection to the earth, much like the Dwarven kingdom carved within the Lonely Mountain.

Examples:

Geghard Monastery: Partially carved out of mountain rock, this UNESCO World Heritage site demonstrates the skill and artistry of Armenian stonework. Its cavernous halls and intricate carvings are reminiscent of the Dwarven halls deep within Erebor.

Tatev Monastery: Perched on the edge of a cliff, this fortress-like monastery reflects the grandeur and defensive nature of Dwarven architecture.

2. Traditional Clothing: Regal, Rich, and Embroidered

Tolkien’s Dwarves are often depicted in elaborate, layered garments with intricate patterns, a testament to their pride in craftsmanship. Armenian traditional clothing, especially royal and ceremonial attire, shares this emphasis on richness and detail. Armenian robes from different historical periods were made from fine fabrics, often embroidered with gold and adorned with jewels, echoing the regal appearance of Dwarven kings and warriors.

Examples:

Royal Armenian Attire: The robes of Armenian kings and nobles during the medieval period were crafted from rich fabrics and detailed embroidery. Visuals of King Gagik I or the attire from the Bagratid dynasty era would illustrate the parallels well.

Women’s Embroidered Dresses: Traditional women’s dresses from regions like Syunik and Artsakh, adorned with intricate patterns and gold-thread embroidery, reflect a similar pride in craftsmanship seen in Dwarven culture.

3. Craftsmanship: The Art of Metalwork and Jewelry

The Dwarves are famous for their skills as blacksmiths, miners, and jewelers, creating intricate items from precious metals. Armenia, with its long history of metallurgy, also boasts a rich tradition of metalwork and jewelry-making. Armenian craftsmen were known for producing exquisite silver and gold pieces, ranging from church crosses to ceremonial weaponry and jewelry.

Examples:

Armenian Crosses and Jewelry: The detailed filigree and gem-inlaid designs seen in Armenian religious artifacts show a high level of skill. These pieces could easily be imagined as treasures from the hoards of Erebor.

Ceremonial Swords and Armor: Historical Armenian weaponry, including richly adorned swords and shields, can also be found in museums. Their craftsmanship mirrors the care and pride of Dwarven smiths.

4. Resilience and Pride: A Shared Spirit of Survival

Both the Armenians and the Dwarves have a shared history of resilience and pride in their heritage. The Dwarves, displaced from their homeland of Erebor, strive to reclaim their lost kingdom, a narrative that echoes the Armenian struggle throughout history to preserve their culture and identity in the face of invasions and displacement.

Armenian history is marked by perseverance, whether through the maintenance of cultural traditions, language, or faith, even during periods of hardship. The Dwarves' determination to return to Erebor, despite the dangers, reflects a similar strength.

Examples:

Armenian Genocide Memorials: These monuments, while somber, speak to the resilience and enduring spirit of the Armenian people. They stand as a testament to survival, much like the return of the Dwarves to Erebor.

Mount Ararat: The iconic mountain, which has a deep connection to Armenian identity, is often depicted in art. It symbolizes endurance, much like the Lonely Mountain symbolizes hope for the Dwarves.

Conclusion

While there is no evidence that J.R.R. Tolkien based the Dwarves of Erebor on any specific real-world culture, the similarities between Dwarven and Armenian culture are striking. Both are defined by a love of stone, a tradition of intricate craftsmanship, and a deep-rooted pride in their heritage. These parallels offer a fascinating way to look at Tolkien's world.

[blueiscoool]

Ancient Assyrian Deity Statue Uncovered in Iraq

In a recent announcement from the The Iraqi State Board of Antiquities and Heritage (SBAH), archaeologists have successfully unearthed a remarkable ancient Assyrian deity statue known as a “lamassu” in Kursbad, Iraq.

A lamassu is a special Assyrian guardian deity, usually portrayed as a mix of human, bird, and either cow or lion features. These unique beings typically have a human-like head, a body resembling that of a bull or lion, and bird-like wings.

Guardian Lamassu sculptures in Assyria

In ancient Assyria, they often crafted pairs of lamassu sculptures and placed them at the entrances of palaces. These imposing figures faced both the streets and the inner courtyards.

What’s unique about these sculptures is that they were carved in high relief. When you look at them head-on, they seem still, but from the side, they appear to be in motion.

While we often see winged figures in the low-relief decorations inside rooms, lamassu were not commonly found as large figures in these spaces. However, they occasionally appeared in narrative reliefs. In these depictions, they seemed to take on the role of protectors for the Assyrians.

Ancient Assyrian deity statue in Iraq was discovered and then reburied

This discovery took place during their excavations at the 6th gate, situated in the western part of the ancient city of Khursbad.

Khursbad was originally built as a brand-new capital city by the Assyrian king Sargon II. He started this ambitious project shortly after he became king in 721 BC.

However, after Sargon II’s reign, his son and successor, Sennacherib, decided to shift the capital to Nineveh. This move left the construction of Khursbad unfinished, making it a fascinating historical puzzle.

As per the press release, the statue was originally discovered in 1992, when a team of Iraqi archaeologists stumbled upon the Assyrian deity statue. After the initial discovery of the lamassu, its head was unfortunately stolen in 1995. However, it was later recovered and is now safely preserved in the Iraqi Museum.

The main body of the Assyrian deity, was reburied to protect the statue and the surrounding architectural remains, a decision that likely saved it from destruction by ISIS, which systematically looted and destroyed the remains of Khursbad.

Collaboration between Iraqi and French archaeologists

In a remarkable collaborative effort between Iraqi and French archaeologists, Professor Dr. Ahmed Fakak Al-Badrani has spearheaded a mission that recently re-excavated the lamassu. This event marks the first time in thirty years that this ancient wonder has been unveiled to the world.

As stated by Dr. Layth Majid Hussein, the Chairman of the General Body for Archaeology and Heritage, the team is presently evaluating the condition of the lamassu to chart their forthcoming actions.

By Nisha Zahid.

[aahanna]

"Masterpiece of Indian craftsmanship!"

The Peacock dress of Lady Curzon is a gown made of gold and silver thread embroidered by the Workshop of Kishan Chand (India)

The Peacock Dress of Lady Curzon is a iconic masterpiece of Indian craftsmanship and design. Created by Indian artisans and designers, this exquisite gown was worn by Lady Curzon, the wife of the Viceroy of India, to the Delhi Durbar in 1903. The dress is a stunning example of Indian craftsmanship, adorned with intricate peacock motifs, precious stones, and metallic threads, showcasing the excellence of Indian design and artistry.

"Peacock Dress of Lady Curzon: A resplendent masterpiece of Indian design and craftsmanship, this gown is a testament to the country's rich textile heritage. Intricate peacock motifs, crafted with precision and flair, adorn the dress, showcasing the exceptional skill of Indian artisans. A true masterpiece of Indian fashion and design."

Incredible craftsmanship of Indian designer:

"The Peacock Dress is a shining example of Indian designers' exceptional skill and creativity. Every thread, every stone, and every motif is a testament to their mastery of the craft. This dress is not just a piece of clothing, but a work of art that has stood the test of time, showcasing the brilliance of Indian design to the world."

EMBROIDERY DETAILS

"Peacock Dress of Lady Curzon: A resplendent masterpiece of Indian design and craftsmanship, this gown is a testament to the country's rich textile heritage. Intricate peacock motifs, crafted with precision and flair, adorn the dress, showcasing the exceptional skill of Indian artisans. The embroidery work is a marvel, with delicate silk threads, precious stones, and metallic wires used to create intricate patterns, including:

- Intricate peacock feather designs, with delicate eye and wing details

- Floral motifs, with intricate stem and leaf work

- Geometric patterns, with precision-cut mirrors and beads

The embroidery is a masterclass in Indian craftsmanship, with techniques like zardozi, zari, and chikan work used to create a truly regal and awe-inspiring piece. Every thread, every stone, and every motif is a testament to the mastery of Indian designers and artisans."

[mozzaremi]

got too silly, made omori magic au, that i'm calling MAGIKOMORI indodump in read more! (it's long)

Magikomori (Infodump)

The whole premise of the au is that the world of omori takes place in an alternate universe where magic is real

Magic and witchery have only recently become a viable career choice in this world, with magic academies popping up to help other witches to properly hone their craft in their efforts to make a living profit from doing what they love and are passionate about.

Both Sunny and Mari come from a bloodline of witches, making them generally talented in magic and spellcasting. Their mother isa witch, while their dad is just a regular guy who doesn't have the best outlook on magic users. 

Mari develop a people-pleaser side of herself that oftentimes is directed at her father, always trying her best to receive validation from him, resulting in Mari dropping all thoughts of becoming a professional witch in the future to instead focus more on her regular school studies and perfecting her skills on the piano.

Sunny, being the opposite, fully embraces the magic side of himself. The specific type of witch ability he's good at being illusions. He can summon lifelike recreations of entities from his dreams without much trouble. His summons are able to interact with the real world around them while also having a mind of their own. Although with Sunny being a less-experienced illusionist, he cannot control them or summon many at a time (he works around this problem by being able to conjure chibi versions of his dream entities into the real world).

While Mewo is still the pet of the family and she is recognised as Mrs. Suzuki's familiar. At the time of Sunny and Mari being toddlers, they would happens to accidentally cast spells and it was Mewo's job to reverse them and babysit the children when the parents were busy.

Other noteworthy magic users from the friend group is Aubrey. While she’s not from a family that's magically inclined, after seeing all the cool stuff Mari and Sunny are able to do with their witch heritage, saying that she became inspired to dabble in magic would be an understatement! 

The particular magic Aubrey specializes in is alchemy! She’s able to use spells to conjure, combine and transform items. One of her first successful alchemy attempts was being able to transform a simple wooden broomstick into a wooden bat 

The other magic user of the group is Basil. 

His family is part of an ancient bloodline of seers, and are able to see visions of the future. On top of that, Basil's lineage are bearers of a curse of being subjected to frequent nightmares, taking away any semblance of peace in their day to day life, leaving them with restless nights of poor sleep, night terrors, and insomnia. This curse also affects Basil's abilities to see visions, as it's hard to separate possible future events from a bad dream.

With the help of his grandma, Basil combats the curse by creating magical potions to suppress the nightmares and give himself a better night's sleep. 

Potion making becoming his speciality, he contemplates joining a magic academy to get a permit to sell his very own potions to the public! His brews range from tea- like elixirs that help with staying calm, helping with concentration, and clearing up general sickness (so basically like the stuff you can find at a regular pharmacy but make it magical)

Both Hero and Kel staying fairly faithful to their canon counterparts, both not having that many ties to magic, but still appreciating the craft! The brothers often contemplate on learning spells for their daily use, whether it's to help with chores or to enhance the taste of a special valentine's treat for a special someone! 

Now here's the deal breaker question... does Mari die in the au?

Well... yes and no. The accident does occur, but after Sunny pushes Mari, instead of freezing up, he attempts to cast a spell to save her from the fall, but instead he fumbles the spell so bad, that Mari phases between the world of the living and the dead, Sunny and basil being the only ones who can see her.

Their dad was already showing slight agitation from the witchery mischief that that family takes part in and the accident is the last straw for him. He leaves the family right after, convinced that the spell cannot be reversed and that mari was basically murdered by Sunny's hands and magic. 

Their mom tries her hardest to reverse the spell that might as well have been a curse. But without being able to detect mari, and with Sunny and Basil being the only ones to see her, it's their responsibility to attempt to undo the spell.

Instead of framing it as a suicide, Sunny's mom filed it as a missing person's case just so nothing bad happens to the two boys. Since magic has only been recently integrated into daily life, there weren't any good sources to turn to for help, so all trust was put into basil and Sunny to fix this.

Attempts to find a way to reverse their mistake were made with the two worried boys collecting countless books on spells and curses in effort to find a solution to their problem. After months of research, things were looking hopeless. Sunny, not being able to deal with the pressure, falls into a depressive state, barely leaving his own headspace while sleeping all day and night.

After the incident, he develops the headspace that we know, though with more magical elements sprinkled in, alongside Omori and his headspace friends. Omori is almost a stand-in for Sunny's own familiar, being able to effortlessly enter the real world and also disguise himself as his cat form. Omori would cause the young witch to procrastinate on finding the right spell to bring Mari back, ensuring that Sunny doesn't become too stressed or depressed when his attempts lead him nowhere. While not doing it out of any evil reasons to keep mari stuck between planes of existence, he just wants to protect Sunny and make sure that he gets some semblance of rest and peace in his life.

Basil's mental state also worsens alongside his best friend. With his best friend shutting him out and not having that much spare time to brew potions for his nightmares, all his time is devotedto finding a way to bring back Mari even without Sunny's help.

After the disappearance of Mari, instead of Hero becoming a chef or a doctor in the future, he chooses the career path of a detective, even purchasing a very expensive crystal ball to try to contact Mari if she were to be dead. Coincidentally he has no luck with being able to contact her, leaving Hero with some hope that he might find her someday. 

Aubrey still ends up becoming a delinquent, while also using her alchemy abilities for mischief. She forms a friend group of other delinquent magic users, causing occasional acts of misbehavior in faraway town.

She still owns Bun-Bun as her pet bunny, and while not having any magical abilities, Aubrey still refers to him as her familiar companion.

Kel is still... same-old Kel, still into basketball and a personification of a ball of sunshine. He still attempts knocking at Sunny's door to see him again, with things not going well until Sunny has to move. Kel also pitched in to get Hero the crystal ball for some closure, even being surprised as well when nothing came up. 

Being stuck between being dead and alive, after the four years Mari loses any resentment she might have had for Sunny and instead feels bad for her dear little brother. While Sunny can still see Mari, it's almost as if after Omori came into the picture Sunny started ignoring Mari's presence. Noticing this, Mari would attempt invading the boy's dreams to talk to him, causing all the headspace reset shenanigans.

When it comes to magic being used to cause other people harm, it all follows the "rule of three". Whatever energy a person puts out into the world, be it positive or negative, will be returned to that person three times. Being aware of this magical law does help with preventing any possible person using magic for evil. 

In Sunny's case, while it was accidental, he did cause his sister and his friends a lot of grief, so it all returned back at him, the negative energy being a lot of emotional turmoil. This feeling of physical and mental unwellness is what helped develop Omori as his supposed familiar to help him cope. 

The plot of omori would still play out as it normally would withthe main difference being that people think that mari went missing instead of her committing suicide. 

Bad and neutral omori endings are still plausible options for the plot. But in the good ending, once the friend group forgives Sunny and Basil for keeping up the lie of Mari's disappearance, they attempt to work together to undo the spell keeping Mari in limbo.

[inheritagex]

From Archives to Adventures: How InheritageX Helps You Discover Your Lineage

In today’s fast-paced world, the need to reconnect with our roots has become more important than ever. Whether it’s a sense of identity, pride in one’s ancestry, or a desire to explore the rich cultural tapestry woven through generations, InheritageX stands at the forefront of this genealogical renaissance. More than just a platform for tracing family trees, InheritageX is a gateway to the World Heritage Crafts and Traditional Indian Crafts that form the bedrock of many cultures.

Unveiling Your Heritage with InheritageX

At its core, InheritageX is designed to provide users with an immersive journey into their past, allowing them to trace their ancestry with accuracy and depth. The platform’s user-friendly interface makes it easy for anyone, regardless of their technical knowledge, to begin their exploration. Whether you have detailed information about your ancestors or are starting with only a name, InheritageX offers tools that guide you through every step.

What sets InheritageX apart is its deep integration with historical archives and databases, ranging from government records to rare personal manuscripts. These documents provide detailed insights into one’s ancestry, going far beyond just names and dates. They open doors to understanding the crafts and traditions passed down through generations.

Preserving and Promoting Traditional Indian Crafts

India’s rich cultural heritage is deeply intertwined with its craftsmanship, with Traditional Indian Crafts representing a significant part of its history. From intricate handwoven textiles to the delicate art of pottery and jewelry making, these crafts are not just products but symbols of the communities that created them. Through InheritageX, users have the unique opportunity to discover the Traditional Indian Crafts their ancestors were involved in.

The platform provides detailed descriptions of various crafts, such as:

Handloom Weaving: An art that has been passed down through generations in many Indian families. This ancient technique produces exquisite fabrics, including Banarasi silk and Pashmina wool, which continue to be revered worldwide.

Block Printing: A traditional technique for printing patterns on textiles, prevalent in Rajasthan and Gujarat. With InheritageX, users can explore how this craft evolved within their lineage and the role their ancestors played in preserving it.

Terracotta Pottery: A traditional art form practiced for centuries, terracotta pottery is known for its earthy charm and practicality. Through InheritageX, you can learn how this craft was a part of your heritage and see its impact on your cultural identity.

By rediscovering these traditional crafts, InheritageX not only highlights their significance but also helps in their preservation. As a user, you will gain an appreciation for the artisanal skills of your forebears and may even be inspired to support modern artisans continuing these legacies.

World Heritage Crafts: A Global Connection

Beyond Indian crafts, InheritageX allows users to explore the World Heritage Crafts that are part of their ancestry. Whether your lineage traces back to Europe, Africa, Asia, or the Americas, the platform provides access to a vast repository of information on heritage crafts from across the globe.

Some of the most fascinating World Heritage Crafts that users can explore include:

African Beadwork: This traditional art form, known for its vibrant colors and intricate patterns, has been passed down through generations across many African cultures. By uncovering these historical connections, InheritageX helps you understand the role that beadwork played in your lineage.

Japanese Pottery: The art of pottery has a long history in Japan, with many families practicing this craft for centuries. With InheritageX, you can explore how these artistic traditions influenced your ancestors and gain a new appreciation for the craftsmanship involved.

European Embroidery: From the detailed tapestries of France to the delicate lacework of Italy, European embroidery represents a rich heritage that is still cherished today. InheritageX offers insights into how these crafts may have been a part of your family’s history.

Through InheritageX, you can gain access to an expansive collection of resources on the World Heritage Crafts that are part of your personal history. This allows you to explore the artistic traditions that shaped the world, giving you a broader understanding of your lineage.

InheritageX: More Than Genealogy

While genealogy is often seen as a way to trace family trees, InheritageX takes it a step further by connecting users to the crafts, customs, and traditions that their ancestors practiced. By doing so, it provides a richer, more immersive experience that goes beyond simple names and dates.

The platform’s focus on both Traditional Indian Crafts and World Heritage Crafts highlights the interconnectedness of culture, craft, and family. It enables users to explore not just who their ancestors were, but what they did, what they valued, and the skills they passed down through generations.

How InheritageX Helps Preserve Craftsmanship for Future Generations

In addition to helping individuals discover their past, InheritageX plays a critical role in preserving cultural craftsmanship for future generations. The platform works closely with artisans and cultural preservation organizations to document and promote endangered crafts. By doing so, it ensures that these valuable traditions are not lost to time but are passed down to new generations.

Users of InheritageX can support these efforts by:

Learning about endangered crafts and their significance.

Supporting artisans through direct purchases or donations.

Participating in workshops and events that aim to preserve traditional craftsmanship.

By connecting users to their heritage in such a meaningful way, InheritageX empowers individuals to become active participants in the preservation of their cultural legacy.

A Platform Built for the Future

As technology continues to evolve, InheritageX remains at the cutting edge of genealogical research. The platform’s commitment to innovation is reflected in its use of artificial intelligence, which helps users uncover previously unknown connections in their ancestry. This ensures that users have access to the most comprehensive genealogical data available, while also enabling them to explore their family’s history in ways that were previously impossible.

Whether you’re interested in tracing your ancestry back to its roots, learning about the crafts your ancestors practiced, or supporting the preservation of traditional crafts, InheritageX is the platform for you. It offers an unparalleled experience that connects you to your past and helps ensure that your family’s legacy is preserved for future generations.

[inkwingart]

God, not me going down a rabbithole learning about traditional vietnamese lacquer painting and being overcome by the need to get into this craft. Like, perhaps I am Many-Much biased but sơn mài is one of the most unique and beautiful styles of lacquer art. I wish this artform had more international recognition because it’s absolutely incredible.

And I’m so pissed that there has been little to no international interest in it, because I’ve been obsessed with lacquer art since I was a kid, but whenever I tried to learn more about the process, all the info I found was about maki-e. Even now, when I look for materials to try it myself, I’m stuck with sourcing urushi, and it’s kind of heartbreaking. I want to learn and participate in my culture’s artistic heritage, but the only way for me to do so is to rely on another culture’s popularity and materials.

There is nothing else in the world like this. Like, holy fucking shit.

[famousinuniverse]

West End, Edinburgh, Scotland, United Kingdom: The West End is an affluent district of Edinburgh, Scotland, which along with the rest of the New Town and Old Town forms central Edinburgh, and Edinburgh's UNESCO World Heritage Site. The area boasts several of the city's hotels, restaurants, independent shops, offices and arts venues, including the Edinburgh Filmhouse, Edinburgh International Conference Centre and the Caledonian Hotel. The area also hosts art festivals and crafts fairs. Wikipedia

[blasphemousclaw]

Let’s talk about Mt. Gelmir

Mt. Gelmir is one of my favorite locations in the game because of its striking environmental storytelling… the minute you start exploring the slopes of the volcano, you can just FEEL that something awful happened here. The imagery is so potent that I wanted to go through every detail of the region and explore how it supports and expands the story we’re told through dialogue and text. Let’s start with the text on the Mt. Gelmir sword monument:

“The Assault on Volcano Manor

The squalid, the sick, the blasphemous;

A wretched, unending war with no glory”

This dismal description refers to Leyndell’s attack on Praetor Rykard’s forces at Volcano Manor. After the Shattering war broke out, Rykard declared his intention to take up arms against the Erdtree itself: this was not just treason, but blasphemy, marking him as “an enemy, never to be forgiven.” We can conclude that Rykard’s blasphemy was so unacceptable that Leyndell made it a priority to silence him as quickly as possible, sending an army straight to his doorstep. I believe it’s implied that Rykard had the Mt. Gelmir Minor Erdtree burned as his first act of blasphemy; we find the tree destroyed amidst a smoking ruin:

The assault on Volcano Manor, introduced to us by Gideon Ofnir as “the most appalling battle in the entirety of the Shattering,” was the site of some of the most horrific violence in the entire story. Traveling around Mt. Gelmir, we can observe the gruesome aftermath of the battle and the remnants of the armies continuing to struggle — some scattered groups of Leyndell soldiers remain, while the only troops left to Rykard are his marionettes and iron virgins, since his knights have long since deserted him after his hideous transformation. (Side note: I love the detail that Rykard uses marionettes and avionettes, which were “crafted to serve the sorcerers;” it further cements his identity as a sorcerer and his connection to his Liurnian heritage.) Despite having no real soldiers though, Rykard’s grim constructs seem to tear through the remaining soldiers of Leyndell with ease, which we can observe in real time:

The death toll of this conflict cannot be overstated — the slopes of Mt. Gelmir are literally piled high with bodies.

Within a pit of corpses, we can find the spirit of one of Rykard’s men, who says this:

“Lord Rykard… If this putrid field of death is what your blasphemy would bring, then I can no longer abide. No one can.”

These unspeakable horrors are enough to make Rykard’s followers question if the cost of resistance is too high a price. Leyndell’s armies are just as badly affected — stranded on the mountain with no hope of reinforcements, we can observe several soldiers feasting on the bodies of their fallen comrades:

These soldiers have long abandoned any hope of achieving glory, and are little more than mindless husks at this point. Furthermore, if we return to the sword monument, something you’ll notice as you make your way over is that there are several Leyndell soldiers who are affected by the frenzied flame. At the same time, the troll soldier guarding the door to the Manor is also affected by the frenzied flame:

The frenzied flame is affecting soldiers of both sides of the conflict here, which tells me it wasn’t being used as some kind of weapon, but that it took hold independently… I believe that the frenzied flame was embraced by the soldiers here due to the sheer hopelessness of those who have experienced this uniquely horrific battle. The ethos of the Three Fingers is essentially that the world is full of unendurable pain, so it must all be melted away so no one will suffer ever again: “the Greater Will made a mistake. Torment, despair, affliction... every sin, every curse. Every one, born of the mistake. […] Those who gave me grapes howled without words. Saying they wished they were never born. Become their lord. Take their torment, despair. Their affliction. Every sin, every curse. And melt it all away.” (Hyetta)

The soldiers who fought on Mt. Gelmir have experienced untold suffering, the very worst of humanity… it makes perfect sense that such people would be susceptible to the essence of the frenzied flame; to want to burn this tormented world to the ground.

[dungeonmalcontent]

In d&d, goblinoids are in this weird place.

They're crafty and cunning, but most lack intelligence (representatively, at least). They're in tune with nature in a weird way, and they're technically fey, but they're almost never portrayed as fey. They're capable of industry and wickedly clever designs but are not masters of craft or artisans.

They are the creatures originally intended for cannon fodder that players of ttrpgs kinda fell in love with. They represented a lot of bad tropes, and so we tried to change them but we were not fully capable of washing away the complicated history on them.

When I run goblins as a society. They aren't lesser. They aren't stupid. They aren't bad. They just haven't been given opportunity as a culture. They're outcast as a race of beings, never welcomed in to communities where they'd learn things and have resources due to how different they are. They also tend to be what happens when you get a very diverse heritage (in a sort of roundabout description way). Elves and orcs and dwarves and gnomes and everything. You get fey pointed ears, you get darker green and brown skin tones, you get this thin figure that's surprisingly durable and hardy, they're short, they're nimble, they're good with they're hands, they can work iron. The list goes on. Heck. Sometimes I give them horns.

I also like to rule that they do the best with what they're given. They can't get access to raw materials, so they scavenge what they can. They get metal from slag dumps and pan out the useful bits. Thier cloth is a mixture of scrap hide and recycled trash. Goblin alchemy is slightly more refined because they can gather most of what they need from nature, but glassware is almost always unavailable and so they are limited in what they can make.

And this whole thing makes goblins frustrated. Why are they the ones left out? Are they just monsters to the rest of the world? They have aspects of every other type of humanoid to them, but they just don't have enough of any one thing to be welcome among the other cultures. But when given the chance to shine, goblins can really show that they're diamonds in the rough. And not really all that rough to begin with. Not rough at all. Just a diamond cut another way.