#it's funerary wear

[erregiulydraws]

*thinks about vol 19’s sleeve illustration*

*thinks about vol 19’s sleeve illustration*

*thinks abo

Bonus:

[gyldowen-draws]

He's spilling the ✨tea✨

Today's silly Emmrich brought to you by the Warm-Up Bean Wheel™️! Suggestions are open as to what startled the poor professor so . . .

Want to see your blorbo bean-ified? Send me an ask and I’ll add them to my warm-up bean wheel!

[zanmor]

Skull portraiture is amazing and it's a real shame that hasn't stuck around as a wide cultural practice.

Check out this amazing art from 9000 years ago:

More than 4000 years before the dynasties of Egypt, people were treating the dead in truly reverent and beautiful ways. It leaves me with little wonder that so many religious beliefs professed life's creation from clay. A skilled neolithic artist could keep a loved one with them for years after death by use of clay.

Would that your face looked that good 9000 years after death.

[ebitenpura]

I kind of liked my original idea that Eight adds the clothes of whoever he's working for/sworn to at that time to his operative outfit, or it came to resemble theirs in some way. It fit his character of a copycat who stole traits from others and inducted them into his malleable personality.

Under Intelligence, he wore layered coats-- fitting himself into that urban businessman mold for their office wars and concealing the assassin underneath.

Under Jadus, he wore a filmy black synth-silk veil attached to his headgear that helped camouflage his head and protect his neck if needed (see silk used as armor in ancient times for real history); it also gave him the moniker of the black-veil bride for his frightening obscured appearance as a servant of shadows.

Finally, in the KOTFE/ET era where he fights under Lana and Koth, he steals the captain's infamous coat and drapes it over his shoulders like a cape out of sheer mischief. Occasionally, he'll do the same to Lana's scarf and wear it as a hood/cover for the bottom half of his face. (She's not as amused as her compatriots when he does so, but she's also secretly happy that he's finally warming up to her even in antics).

[livesunique]

Golden Throne of Tutankhamun

New Kingdom, late 18th Dynasty, reign of Tutankhamun, ca. 1332-1323 BC. 

The luxurious armchair is distinguished by the complexity of its technique and an abundance of details. Two projecting lions’ heads protect the seat of the throne while the arms take the form of winged uraei or rearing cobras wearing the double Pschent crown of Egypt and guarding the cartouche names of the king.

The golden throne of Tutankhamun was discovered in 1922 by the British archeologist Howard Carter. It was found beneath a hippopotamus funerary bed in the antechamber of the Tomb of Tutankhamun.

The throne is called (Ist) in Egyptian hieroglyphs after the name of the mother goddess Isis. who was usually depicted bearing a throne on her head as her characteristic emblem. It is made of wood and covered with gold and silver. It is ornamented with semi-precious stones and colored glass.

The throne meant, not only the link between the worlds of Gods and the people, but also majesty, stability, safety and balance. Since kings were considered Gods on earth, it may not be difficult to imagine Tutankhamun imposing his divine will over the rest of mortals while sitting on this golden throne.

Wood, gold leaf, silver, semi-precious stones, glass paste,

Height: 102 cm, Length: 54 cm, Width: 60 cm,

Egyptian Museum, Cairo.

[pespillo]

i like to think they actually change how they look every rift event come, i mean it would get boring to wear the same things for so long, and it does look like Thespius can Wear other clothes after all, so Mitter didnt ALWAYS wear the black ensemble, honestly she was barely covered when she first ascended, only covered by a funerary cloth.

[theancientwayoflife]

~ The royal belt of Calakmulhul.

▪︎ Towards mid-November 1988, researchers from the Calakmul Project discovered in Building III a crypt that housed the remains of an ancient sovereign accompanied by a modest funerary trousseau. Among the objects deposited in the tomb were three green stone masks. One must have been placed on his face, the other two smaller ones were interpreted as medallions or pectorals.

The belt was part of the dignitaries' attire, as can be seen in some steles. It was made up of a small mask from which three green stone axes hung. The masks represented deities or embodied ancestors. The axes, when hitting each other, generate a tinkling sound that is heard like the murmur of the wind. By wearing the belt, the rulers were transfigured into the axis mundi , in the center of the Universe.

[artifacts-and-arthropods]

2,000-Year-Old Fayum Portraits from Roman Egypt: also known as "mummy portraits," these funerary paintings were often fastened to the coffins of the people they depicted

Above: Fayum portrait of a woman from Roman-occupied Egypt, c.100-110 CE

Fayum portraiture was a popular funerary practice among the upper-class families of Roman Egypt from about 50 CE to 250 CE. Given the high mortality rates for children during this period, many of these portraits depict children and youths, but adults were often featured, too.

Above: portrait of a youth wearing a golden wreath, c.130-150 CE; the wreath and the background of the portrait are both gilded

The population of the Faiyum Delta, where most of these portraits were found, largely contained individuals with both native Egyptian/North African and Greek heritage. The Greek lineages can be traced back to the Ptolemaic period, when the Greeks gained control of Egypt and began to establish settlements throughout the region, gradually leading to a cultural diffusion between the Greek and Egyptian populations. The Romans eventually took control of Egypt in 31 CE, absorbing it into the Roman Empire and colonizing much of North Africa, but the demographics of the Faiyum Delta remained largely unchanged.

Above: portrait of a man with a mole on his nose, c.130-150 CE

Many of these Fayum portraits reflect the same blend of ethnic and cultural roots, depicting individuals with both Greek and native Egyptian heritage (a claim that is supported by both archaeological and genetic evidence). Some portraits may also depict native Egyptians who did not have any European ancestry, but had been integrated into Greco-Roman society.

Above: portrait of a bearded man, c.170-180 CE

These representations of native Egyptians provide us with unique insights into the actual demographics of Roman-occupied Egypt (and the ancient world at large). Non-European peoples are rarely included in depictions of the classical world; it's also interesting to see the blend of cultural elements that these portraits represent.

Above: portrait of a priest of Serapis, c.140-160 CE; the man in this portrait is shown wearing a fillet/crown that bears the seven-pointed star of the Greco-Egyptian god, Serapis

As this article explains:

In the 1800s and early 1900s, Western art historians didn’t know what to make of these portraits. Scholars of Roman history labeled them Egyptian. Scholars of Egyptian history labeled them Greco-Roman. These binary academic classifications failed to capture the true complexity of the ancient (or, indeed, modern) Mediterranean. In reality, Fayum portraits are a syncretic form, merging Egyptian and Greco-Roman art and funerary practices. They reflect the cosmopolitanism of both Roman and Egyptian history.

Above: portrait of a man, c.80-100 CE (left); portrait of a bearded officer, sometimes referred to as "Perseus," c.130-175 CE (right)

Above: portrait of a young woman in red, c.90-120 CE

Nearly 1,000 of these portraits are currently known to exist.

Above: portrait of a man wearing a gilded ivy wreath, c.100-150 CE

Above: portrait of a bearded man, c.150-170 CE

Sources & More Info:

Curationist: Fayum Portraits

Harvard Art Museums: Giving the Dead their Due: an Exhibition Re-Examines Funerary Portraits from Roman Egypt

Getty Museum: APPEAR Project

Getty Museum: Faces of Roman Egypt

National Geographic: Ancient Egypt's Stunning, Lifelike Mummy Portraits

The Athens Centre: The Myth of Whiteness in Classical Sculpture

Forbes: Whitewashing Ancient Statues: Whiteness, Racism and Color in the Ancient World

[suzukiblu]

Day twenty-one of “obligatory sugar baby Kon” ( no cut today, we die like Steph's tolerance for her dad's bullshit ). prev: (( chrono || non-chrono ))

He should be taking notes, Tim realizes. This is a new and unprecedented level of supervillain behavior that his fifteen-year plan can only aspire to reach. 

“Asdfghjk,” he says, which is apparently actually an actual sound that an actual person can actually make, go figure. Learn something new every day. 

Kon laughs at him, the fucking bastard. Tim would probably swear vengeance but unfortunately Kon looks way too damn pretty and way too damn happy doing it and is not wearing a single thing he didn't buy him and bought him a camera with his first allowance and wants to see him skateboard and has also laughed so many times tonight that Tim is starting to develop the opposite of a tolerance for it. Like, he's getting weaker and weaker to it the more exposure he gets, which is in his opinion total bullshit and totally unfair but is unfortunately still happening. 

. . . well, not necessarily unfortunately, since it’s specifically happening because Kon keeps laughing and looking happy about it, but that’s besides the point. Somehow. In some way. Just–somehow. 

“You’re so fuckin’ cute, babe,” Kon says, grinning at him again. He keeps doing that too. He keeps laughing, and grinning, and just–just all these things that Tim is not prepared for and honestly doesn’t even know how he could’ve been? There’s having five minutes of prep time and there’s situations that are just impossible to prepare for because how could he have fucking KNOWN. How?! How could he ever have?!?!

Literally not possible, Tim is certain. 

“You’re actually incorrigible,” he says, quickly flipping his dropped board onto its wheels with a foot and then giving it a quick pop to the tail and hooking a foot underneath it to kick it up into his hand. Kon looks delighted, his eyes immediately lighting up. 

“Sick!” he says. Tim felt like maybe he was getting in a win for a second there, except Kon being genuinely delighted is actually even worse and he thinks he’s just, like, kind of screwed in general now? Kon’s not supposed to be genuinely delighted by things, he’s supposed to pretend to be too cool to be impressed or just jealous that someone else is getting attention! 

Tim really, really could not have ever been prepared for this. 

“So like, do you know any cool tricks?” Kon asks with a wider grin, still looking way too genuine about his excitement. Tim is resigned to ruining his best non-funerary/non-gala slacks and possibly also his shirt and definitely also his dignity. His dignity is as scuffed as the shoe he just dropped his board on, and frankly that’s being optimistic. 

Extremely optimistic. 

“I know a couple okay ones,” Tim says, since Robin-level parkour doesn’t count as either “tricks” or anything he could show Kon, and also he’s screamingly out of practice, and also he was never really that good a skateboarder even when he had the time to do it regularly, plus skill decay is a thing and– 

“That mean you’re gonna show me a trick or two, daddy?” Kon asks, grinning slyly at him.

[sacred-algae]

MCD HEADCANON WARNING:

Sometimes... Sometimes I make myself sad thinking about Geralt dying and Jaskier selfishly keeping his medallion even though witcher funerary rites demand that a witcher’s medallion be returned to their family because he can’t handle the truth and the medallion is the only thing of Geralt he has left and you can’t make him give that up—

Jaskier never taking it off.

Jaskier wearing it under his clothes so it can touch his skin.

Jaskier holding the pendant in his hand as he falls asleep.

It wasn’t supposed to be like this. Geralt’s supposed to outlive Jaskier. Geralt’s supposed to be fine. And it wasn’t even a battle that took him out like it should have been, it was a bloody infection. And Jaskier barely made it to Brokilon forest where he’s held by the dryads to say goodbye—he walked for days on end with nothing but his clothes and his lute—and Geralt never even knew.

Geralt died before Jaskier could tell him. At least he could say goodbye to his sleeping body. At least he could see him take his last breaths.

Yennefer says Geralt knew, thinking it would help Jaskier—but that just makes it worse.

Jaskier doesn’t sing for months.

And Vesemir only knows something is wrong when Geralt doesn’t return home for the winter, and come spring, he goes to find Jaskier, knowing the bard he’s never met but heard so much about would probably know where to find Geralt.

Jaskier was supposed to be beautiful, according to Geralt. This man was a shell. And Geralt’s nowhere to be seen. And then… it hits him. And all he does is hold out his hand expectantly.

And Jaskier silently moves away, hand over his chest. His voice shakes. “No. No, you can have it when I die.”

And Vesemir can live with that. Because Geralt loved Jaskier. And Vesemir tells him as much. And from Yennefer it’s a lie to him. But from Vesemir? From Geralt’s father?

Jaskier just folds under the grief and disappointment, sinking to his knees, and starts sobbing because he could have had him. And Vesemir just stares. And for the first time in centuries, he feels the urge to cry too.

[holycosmolo9y]

Head of a funerary couch, in the shape of Ammit 😛

Ammit is a celestial beast who bestows final judgement on the deceased and devours the unjust in the court of Osiris.

Populalrly depicted in funerary texts like the Book of the Dead, Ammit is usually a combination of a crocodile's head, the front legs of a lion, and the hindquarters of a hippopotamus.

Found among three ritual funerary couches in Tutankhamun's antechamber and made of stuccoed gilded wood with each animal's eyes inlaid with colored glass paste, this particular couch is variedly composed of a curiously different configuration: a hippopotamus' head wearing a wig, a leopard's body, and a crocodile's tail and crest

[travelingthief]

Hades Devotions and Offerings

Learn About:

Parts of the Underworld

Rivers of the Underworld

Persephone

Embalming practices (ancient and modern)

Funerary rites and practices across cultures

Chthonic deities

Death magick

How gravestones are made/parts of a gravestone

Most common causes of death

Offerings

God of the dead and the Underworld:

Bones

Preserved dead animals (pinned bugs, wet specimens, taxidermy etc.)

Dog fur

Dog imagery

Cerberus depictions

Keys

Skulls/skeletons

Grave imagery

Graveyard dirt/regular dirt

Bident

Red wine, whiskey, bourbon

Mint, cypress, asphodel

Urns

Ashes

Pictures of dead loved ones

Persephone depictions

Dried flowers

Spices

Dead plants

Ghost imagery

Chains

Depictions of black animals

Black cloths

Black items

Crowns

Black candles

Snakes

Gravestone rubbings

Ashes of cremated animals/loved ones

Coffin imagery

Items from deceased loved ones

Family heirlooms

God of Wealth and Abundance

Silver/black jewelry

Gems and crystals

Coins/money

Cornucopia

Money bowl

Soil

Devotional Acts

God of the dead/Underworld

Walk in a cemetery 

Clean graves (properly and with permission)

Write an advanced directive/last will and testament

Wear black

Create an altar/shrine for dead loved ones

Leave flowers on old graves

Leave coins on old graves

Sit and visit with graves

Become death positive/death neutral

Accept death as a reality

Contemplate your morality

Donate to funeral costs

Assist bereaved people (with food, money, company, etc.)

Preserve dead animals

Embrace silence

Pray for roadkill

Sit with dead animals you see

Pray for the dead

Do ancestor work

Learn suicide warning signs

Learn overdose prevention

Learn CPR/first aid

Sit in total darkness, outside if possible

Live your life as fully as you can

God of Wealth and Abundance

Save money

Increase your financial literacy

Invest

Create a money bowl

Carry cash

Keep track of your finances

Pay your bills on time 

Donate to causes you care about

Create a weekly/monthly budget

[serpentface]

Ephenni man participating in a variant of the kagnoma wantouki folk dance. He has come prepared, wearing bell bracelets and belled and pheasant-feathered dancing shoes, and neglecting a tunic and cloak, allowing for the percussive slaps to his chest and stomach to be louder.

"Kagnoma wantouki" groups together a variety of closely related folk dances that occur across the Imperial Wardi cultural sphere, and beyond (the west + south rivers Hill Tribes, Cholemdinae, and Loberan North Wardi groups have also adopted and developed variants, and one western variant has spread to parts of Bur). The dance is performed differently from province to province (sometimes even from village to village) and goes by several more specific names, but it is distinguished as a collective from other folk dances by the commonalities of:

the dancers use their own bodies as a form of percussion, via clapping their hands, slapping their chests, upper arms, stomachs, thighs, and/or shins, and stomping their feet. The name of the dance itself refers to this.

the dance is otherwise dominated by rapid footwork (often emphasized with bells) and is accompanied by up-tempo music.

the dance can technically be performed strictly solo, with opportunities for partnering.

dancers provide some vocalization.

As a folk dance, it serves no direct religious function and is mostly performed by people with no formal training at social gatherings (this is a mainstay of weddings in particular, but occurs at everything from religious festivals to funerary feasts).

Drumming is the only strictly necessary form of musical accompaniment, but many variants/performances make use of tambourines and rattles. Use of a two-stringed bow instrument is common in the west and south. Chanting by the dancers and singing by a musical accompaniment and/or onlookers is a near-necessity, with a specific call and response form of song developing in tandem with this dance.

Costuming (if used at all) varies by region, but belled shoes decorated with feathers are common (for this and many other dances), and men who come prepared for the occasion usually go with a skirt and a nude upper body (baring more skin to make the slaps more percussive). It’s very common to see men fasten their cloaks around their hips and slip the upper half of the tunic off their arms and down to the belt when joining in opportunistically. Costuming for women requires less specificity and usually lacks the feathered shoes.

The dance can technically be considered unisex, but most variants show slight differentiation of choreography for men and women (in large part aligning to typical dress standards). The feminine variant involves active use of the skirt and less slapping, usually limiting it to claps of the hands, slapping the hand of a partner, and a specialized move during rapid percussive sessions in which the hem of the skirt is lifted by the non-dominant hand while the opposite leg is repeatedly kicked up and slapped on the shin in time to the music.

When dancing with a partner (which often occurs opportunistically among a group), both will face each other and attempt to move in time and punctuate the high-tempo sections with slaps of each other's hands. This dance has no particular connotations of courtship (while some other folk dances are at least Rooted in this and require man-woman dance partnerships with very strongly differentiated choreography). If anything, it's slightly more typical for people to partner up with a dancer of the same gender.

It's very common to see 'dance fights' develop between men in particular, especially when two higher-skilled dancers match up and attempt to outdo each other. This is a semi-formalized aspect of the dance, where the competitors will alternate between 'leading' for each section (punctuated by shifts in tempo and shouts) while the other attempts to match their movements as closely as possible, 'losing' the match if they can't keep up. A good quality fight in action will be deferred to by other dancers, who will circle around them and clap in time (while particularly canny accompanying musicians will improvise more complex rhythms, and singers call attention to it). These 'dance-fights' are almost always friendly in nature and often considered to be the highlight of a kagnoma wantouki, either as a showcase of the highest skilled dancers in a group or as a very, very entertaining spectacle when one or both are drunk.

[mars-and-the-theoi]

Low energy Devotional Acts for when you don’t have a lot of energy (or time, or money, etc.)

💀Thanatos💀

- listen to a devotional playlist for Him

- listens to ‘dark ambient’ soundscapes

- learn about butterflies

- if able, visit a cemetery

- learn about the work that death doulas, hospice workers, funeral directors, morticians, cemetery caretakers, and grief counselors do

- if able tend to the grave of a loved one (tidy it up, bring new flowers/decorations, etc.)

- talk to deceased loved ones (doesn’t have to be anything fancy- I talk to my dead dog all the time I say good morning to him and when we leave I tell him we’ll be back etc. whatever you wanna tell them you tell them!)

- learn the stages of grief and how complex grief is

- if interested and able (I know this can be touchy) learn about the process of dying and what happens to the body after death

- learn about what you can have done to your body after death- there’s lots of interesting options out there! Burial at sea is still very much a thing that can be done, I didn’t know that until I got curious and looked this stuff up!

- if able and willing talk to your loved ones about what your wishes are for when you die- what do you want to happen to your body, what do you want your funeral to be like, etc. (I include this because I used to work in assisted living and nothing is worse than your family just not knowing what your wishes are for when you die, I’ve heard too many horror stories)

- learn about death magic and spirit work

- learn about the Victorian era spirituality craze (like the uptick in things like seances and all that, it’s all very interesting)

- learn about the many ways to communicate with the dead

- destigmatize death- death has become a very hush-hush subject which doesn’t really do us any favors in my opinion so don’t be afraid to talk about it, talk about your wishes, etc.

- learn about funerary practices throughout history and around the world

- learn about the meaning of death throughout history and around the world

- listen to songs about death

- read poems, books, plays about death- there’s a lot of them and they’re quite interesting

- watch movies/shows about death (my personal favorite is the seventh seal)

- if able and willing reflect on your own thoughts and feelings on death (can be death in general, about your own mortality, etc.)

- look up cemetery symbols and symbolism! And whenever able do a cemetery scavenger hunt

- wear black

- learn about how to help someone who is grieving

- listen to goth music

- be kind to spirits

- learn about haunted locations

- read ghost stories (idk if this counts but my personal favorite is The Legend of Sleepy Hollow)

💤Hypnos💤

- listen to a devotional playlist for Him

- listen to calming soundscapes

- learn about symbolism in dreams

- learn about the stages of sleep

- if able establish and practice good sleep hygiene

- learn about good sleep hygiene

- if unable (or you have a hard time sleeping) look up calming and quiet activities you can do instead

- listen to calming music

- if able make your bedroom into a cozy safe space

- learn about herbs and plants with calming and/or sleep inducing properties

- if able donate some bedding you don’t use anymore (even animal shelters will take some! Bedding is always in high demand in all sorts of places so if you’re needing to unload some this is the chance to do it!)

- learn about our sleep cycles and the circadian rhythm

- if you have young family members (kids, little siblings) tuck them in and/or read them a bedtime story

- if able slow down and rest

[death-witch2007]

Book recommendations for death work!

᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫

~The Book of Ancestors: A Guide to Magic, Rituals, and Your Family History, by Claire Goodchild ~The Book of Séances: A Guide to Divination and Speaking to Spirits, by Claire Goodchild ~Honoring Your Ancestors: A Guide to Ancestral Veneration, by Mallorie Vaudoise ~Badass Ancestors: Finding Your Power with Ancestral Guides, by Patti Wigington ~The Bones Fall in a Spiral: A Necromantic Primer, by Mortellus ~Do I Have to Wear Black?: Rituals, Customs & Funerary Etiquette for Modern Pagans, by Mortellus ~Talking to Spirits: A Modern Medium's Practical Advice for Spirit Communication, by Sterling Moon ~Death Nesting: The Heart-Centered Practices of a Death Doula, by Anne-Marie Keppe ~End-of-Life Enchiridion: 270 Questions About You: Ancestry, Life & Death, by Anne-Marie Keppel ~Walking the Twilight Path: A Gothic Book of the Dead, by Michelle Belanger ᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫⚬◦☾᛫🩷᛫☽◦⚬᛫᛫

[openphrase123]

morbid thought but do you think the isat crew fights over who gets to wear odile's funerary gem after she dies