#was build an altar and burn cows alive to worship God

[nomsfaultau]

I recently got a comment about the use of the term Bird Pope within my charity one-shot Worth far more than your weight in gold, specifically about the world building implied there considering [Kristin] and [Philza] are notably very inhuman bird monsters (Ravengences). Specifically, the question was if there was Bird Catholicism and Bird Jesus died on the Bird Cross of Lorraine. (I think it would have to be a more complex shape given the extra wing limbs! Or perhaps an Orthodox Cross to pin the tail too?)

Anyway, let's examine the text between [Kristin] and [Philza] and the translator's note:

[Kristin's] expression changed utterly to one of delight, kneeling to affectionately bump her forehead against [Philza's]. “Praise be to the gods, I thought I was going to have to [bird divorce] you,” [Kristin] said with a relieved sigh, nuzzling into the crook of his neck.  (*While Bird Divorce is not forbidden, it is strongly discouraged by the Bird Pope.)

To explore Weight in Gold's species’ religious stance, I examined what terms they use:

Techno uses Gods (capital, plural). Ravengences refer to the seven winds (non capital, plural), gods (non capital, plural), and the Bird Pope (Capital, singular (*according to the translator)). Given Catholicism really emphasizes the singular God bit, I deduce Catholicism did not come from Piglins and Ravengences. Thus I am sadly assuming Worth in gold!Jesus was neither bird nor pig (which is good since pork is not kosher!).

As for humans, they are not worshiping Prime (as in, a god named Prime). Church Prime is the first church in the area. Akin to the format of First [Denomination] Church of [Town]. They worship the Catholic God, and centuries ago were very heavy into evangelizing. Has to be a very long time ago since Ravengences are mostly considered legends in the current time period, and aren’t particularly assumed to be sapient beings. So for the Ravengences it’s more of a legacy of cultural exchange than anything that’s happened of late.

Techno makes a lot of snide comments about the human church, and mentions not doing his sacrifices. But he does bite his tongue because the Church holds a LOT of power in human settlements. From this I gather Piglins on the whole are not Catholic, though as minorities have to navigate the sociopolitical power of the religion they don’t practice. Specifically, I note the way Techno uses the term Gods (capital, plural) which feels to me like a linguistic quirk picked up after the emphasis Catholics put on a capital G God, but in strict defiance of Catholicism by making it plural to reflect Piglins’ own pantheon before the humans started evangelizing. Along the line of 'Nyeh! Our Gods are just as important as yours!' Since we don’t see anyone trying to convert Techno, I reckon it’s something lots of wars were fought about way back when, humans eventually giving up (and probably writing Piglins off as demons in the process). Piglins rejected churches, partially rooted in the fact a central part is in money and donating it, and 1. Piglins do NOT give their gold away except in very intricate and personal situations and 2. Piglins think money is stupid. Using gold for fancy banners and clothing and murals (which Catholicism is very fond of) also didn’t fly with the Piglins. So a major part of human worship involves the (perceived!) frivolous use of gold, which is a big rift between human and Piglin culture.

Ravengences however do have a culture around donating gold, so it wasn’t as much as a massive conflict with human doctrine. In fact it helped facilitate the transfers in a way they liked. I imagine early evangelism with them was a desperate attempt to stop temple raids and was shockingly successful all things considered. To Ravengences, Catholic God is yet another god, added into the pantheon for flavor. I imagine they refer to God as god, since as tricky as crossing that language barrier is that particulars of capitalizing god names probably didn’t make it across. (Ravengences are seen only capitalizing names and the term Ravengence). Ravengences didn’t really agree with the whole abandoning their original gods things (what? You want me to STOP worshiping the seven winds? AND NEVER BE ABLE TO SAFELY FLY AGAIN? Are you MAD?!) and tended to eat conversionists who insisted on that point a little too firmly. The humans likely decided to shrug and declare that the Ravengence gods were really just saints if you think about it, so it’s probably okay please stop eating us now. And as the cultures lost contact, likely a lot of changes piled up in the centuries to follow. Ravengences probably lost the Catholic God (because of said lack of capital differentiation, and the lack of a name is tricky to keep track of when you have a lot of gods). But, positions like Bird Pope, which have lots of practical use regarding the distribution of donation gold so that families can have children, are likely vital to Ravengence society, and so remained, albeit looking very different to human popes. And the Bird Pope hates divorces, because Ravengences tend to want to take all of the gold for their new family, and the ex spouses probably tend to kill each other over it. Since, again, Ravengences are fond of the death penalty.

Alternatively: notably [bird divorce] [bird husband/wife] are within the translator's personal choices to explain concepts to a human audience, the mention of Bird Pope being within a translator's addendum. Even to the extent that within [Kristin’s] dialogue [bird divorce] is lower case, but the translator uses uppercase, further cementing the linguistic differences between Humans and Ravengences. So Bird Pope (capitalized) is how a human explains Ravengence culture to other humans, and may not reflect the capitalization Ravengences use (as they tend towards none) or even really the actual Ravengence cultural role being described. So all of what I just world builded could also be scratched out and explained with 'human translator trying to simplify for a human audience'. but one of those answers is a lot more fun!

[tharakoekenbiergraduation]

Rangoli

Rangoli is an art form, originating in the Indian subcontinent, in which patterns are created on the floor or the ground using materials such as colored rice, dry flour, colored sand or flower petals. It is usually made during Diwali or Tihar, Onam, Pongal and other Hindu festivals in the Indian subcontinent. Designs are passed from one generation to the next, keeping both the art form and the tradition alive.

The purpose of rangoli is to feel strength, generosity, and it is thought to bring good luck. Design depictions may also vary as they reflect traditions, folklore, and practices that are unique to each area. It is traditionally done by girls or women. Generally, this practice is showcased during occasions such as festivals, auspicious observances, marriage celebrations and other similar milestones and gatherings.

Rangoli designs can be simple geometric shapes, deity impressions, or flower and petal shapes (appropriate for the given celebrations), but they can also be very elaborate designs crafted by numerous people. The base material is usually dry or wet powdered rice or dry flour, to which sindoor (vermilion), haldi (turmeric) and other natural colours can be added. Chemical colors are a modern variation. Other materials include red brick powder and even flowers and petals, as in the case of flower rangolis. 

In middle India mainly in Chhattisgarh Rangoli is called Chaook and is generally drawn at the entrance of a house or any other building. Dried rice flour or other forms of white dust powder is used for drawing Chaooks. Although there are numerous traditional Chaook patterns, many more can be created depending on the creativity of the person who draws it. It is considered auspicious as it signifies showering of good luck and prosperity on the house and in the family. It is not drawn like a picture. Patterns are created based on certain systems. Generally, women get up early in the morning and clean the area just outside the entrance of their houses with cow dung, sprinkle the area with water and draw the Chaook. In Maharashtra and Karnataka, rangolis are drawn on the doors of homes so that evil forces attempting to enter are repelled. During the festival of Onam in Kerala, flowers are laid down for each of the ten days of the celebration, the design growing larger and more complex every day. In Tamil Nadu, Andhra Pradesh and Karnataka,and many parts of Maharashtra, the Rangoli or Kolam is drawn upon the ground or floor daily. The designs are geometric and symmetrical मूल्यतः shapes but the materials used are similar rangoli: rice flour or slurry is used. In Rajasthan the Mandana are painted on walls. Mmandne, various festivals, major festivals and can be categorized based on seasons. Different shapes depending on the size of it also can be shared. Kumaon's "writing beat 'or in a variety of plotting symbols Thapa, artistic designs, Bellbutoan is used. Alikhthap of society apart – separated by different groups – different icons and art media is used. In Odisha, the Murja is put at the aangan of every home in front of the Tulsi plant called "Tulasi chahura". The Rangoli patterns mostly are dedicated to Lord Krishna and Lord Jagannath. The Murja festival is observed during the auspicious month of Kartika ending on Kartika Purnima.

The Rangoli's most important element is being colourful. These are auspicious symbols that have a central role in the design. The design for generations are passed on as they are made – and is required to make these symbols. Traditionally, each new generation learns the art and thus a family keeps the tradition intact. Some major symbols used in Rangoli are the lotus flower, its leaves, mango, Tue vase, fish, different kind of birds like parrots, swans, peacocks, and human figures and foliage. Oftentimes Rangoli is made on special occasions like Diwali. Some special patterns for Diwali Rangoli are the Diya also called Deep, Ganesha, Lakshmi, flowers or birds of India.

The second key element is using the materials used to make the rangoli. The materials used are easily found everywhere. Therefore, this art is prevalent in all homes, rich or poor. Normally the major ingredients used to make rangoli are – Pise rice solution, the dried powder made from the leaves color, charcoal, burned soil was, wood sawdust, etc..

The third important element is the background. Rangoli use the background of a clear floor or wall or Llype is used. Rangoli can be made in a yard in the middle, corners, or as a bell is created around.

Dehri gateway is a tradition of making rangoli. God's seat, depending on lamp, place of worship and sacrifice on the altar is a tradition of decorating rangoli. With time, imagination and innovative ideas in Rangoli art is also incorporated. Hospitality and tourism has also had its effect and rangoli has been commercially developed in places such as hotels. Its traditional charm, artistry and importance still remain.

Rangoli is also created using coloured rice, dry flour, flower petals, turmeric (haldi), Vermillion (Sindoor) and coloured sand. The patterns include the face of Hindu deities, geometric shapes peacock motifs, and round floral designs. Many of these motifs are traditional and are handed down by the previous generations. This makes rangoli a representation of India's rich heritage and the fact that it is a land of festivals and colour. People celebrate rangoli with davali patterns. 

There are two primary ways to make a Rangoli, dry and wet, referring to the materials used to create the outline and (if desired) fill that outline with colour. Using a white material like chalk, sand, paint or flour, the artist marks a centre-point on the ground and cardinal points around it, usually in a square, hexagon or circle depending on region and personal preference. Ramifying that initially-simple pattern creates what is often an intricate and beautiful design. Motifs from nature (leaves, petals, feathers) and geometric patterns are common. Less common but by no means rare are representational forms (like a peacock, icon or landscape). "Readymade Rangoli" patterns, often as stencils or stickers, are becoming common, making it easier to create detailed or precise designs.

Once the outline is complete, the artist may choose to illuminate it with colour, again using either wet or dry ingredients like paints, coloured rice-water, gypsum powder, coloured sand or dry pigments. The artist might also choose unprocessed materials like seeds, grains, spices, leaves or flower petals to achieve lifelike hues. Modern materials like crayons, dyes or dyed fabrics, acrylic paints and artificial colouring agents are also becoming common, allowing for brilliant and vibrant colour choices. A newer but less artificial method involves using cement coloured with marble powder. This rather precise method requires training, but beautiful portraits can be drawn in this medium.

Shape, design and material can be influenced by regional traditions. A square grid is common in North India as is a hexagonal grid in South India; Onam Rangolis are typically circular. In North India, the colour is most often based on gypsum (chirodi), in South India on rice flour and Onam Rangolis are typically flower based. The rapid and widespread migration and mixing of people within India can be seen by the way these styles are now freely adopted and mixed across the country. It is also becoming common to see experimentation like sawdust-based floating Rangolis, freeform designs, and exotic materials.

It is particularly notable that the Tamil version of the Rangoli, the Kolam, prizes symmetry, complexity, precision, and intricacy rather than the flamboyance of Rangolis found in North India. Many people find it enjoyable to try and figure out how such intricate designs are drawn with a grid, and hence, it allows the mind to be exercised.