Nystapi People: Difference between revisions

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Nystapi Lacquerware before and after Niväk was used in religious ceremonies, example being using Nioka cups to offer liquor to the spirits. Lacquerware are treated as a closely guarded treasure, and in some cases was used as containers for storing other treasures. Pre-Niväk, lacquerware didn't hold a originate in Nystapi but rather it was trade for and majority of lacquerware artifacts originated from the southern regions of [[Borea]], which is historically curious as Nystapi people tend not to interact with the other groups outside of their own culture.

After Niväk however, lacquerware took a new life being natively produced by Nystapi for the first time. The Lacquerware produced in the beginning was only made in a religious nature, as part of their transition from folk [[Akuanism]] to more structure shrine [[Akuanism]]. The inclusion of lacquerware into more formal shrine structure, which proved to be critical during the transition and during the Blåskovian civilizing policies, as well adaption. Lacquerware became a symbol of old Nystapi culture of the pre-Niväk era, in its placement of the shrines.

After Niväk however, lacquerware took a new life being natively produced by Nystapi for the first time. The Lacquerware produced in the beginning was only made in a religious nature, as part of their transition from folk [[Akuanism]] to more structure shrine [[Akuanism]]. The inclusion of lacquerware into more formal shrine structure, which proved to be critical during the transition and during the Blåskovian civilizing policies, as well adaption. Lacquerware became a symbol of old Nystapi culture of the pre-Niväk era, in its placement of the shrines. Lacquerware being used in such a way, was done for a few purposes aside from religious foci, lacquerware served as a method of solidify control and focal point for cultural reform that made up the Niväk reforms. Example of this cultural solidification being the adaption of local bands cultural symbols and making them part of all Nystapi religious lacquerware designs, in a crude terms of this 'merged' the different bands own united cultural symbols and beliefs. More importantly, the new lacquerware was Nystapi own creation rather than trading it or having it constructed for them. The creation of their own lacquerware, became a symbol of Niväk changes and reform, which was seen as least controversial part and if not outright the most positive and accepted part of the reforms for a multitude of reasonings. Central reasoning being as select scholars put it, it was whole heartly Akuan in design and nature, despite the pressures from being forced to settle down. Nystapi Lacquerware was completely Akuan in religious form, without any Blåskovian influences.

[[Category:Cowlass]]

[[Category:Lapliszna]]

@@ Line 49: / Line 49: @@
 Nystapi Lacquerware before and after Niväk was used in religious ceremonies, example being using Nioka cups to offer liquor to the spirits. Lacquerware are treated as a closely guarded treasure, and in some cases was used as containers for storing other treasures. Pre-Niväk, lacquerware didn't hold a originate in Nystapi but rather it was trade for and majority of lacquerware artifacts originated from the southern regions of [[Borea]], which is historically curious as Nystapi people tend not to interact with the other groups outside of their own culture.
-After Niväk however, lacquerware took a new life being natively produced by Nystapi for the first time. The Lacquerware produced in the beginning was only made in a religious nature, as part of their transition from folk [[Akuanism]] to more structure shrine [[Akuanism]]. The inclusion of lacquerware into more formal shrine structure, which proved to be critical during the transition and during the Blåskovian civilizing policies, as well adaption. Lacquerware became a symbol of old Nystapi culture of the pre-Niväk era, in its placement of the shrines.
+After Niväk however, lacquerware took a new life being natively produced by Nystapi for the first time. The Lacquerware produced in the beginning was only made in a religious nature, as part of their transition from folk [[Akuanism]] to more structure shrine [[Akuanism]]. The inclusion of lacquerware into more formal shrine structure, which proved to be critical during the transition and during the Blåskovian civilizing policies, as well adaption. Lacquerware became a symbol of old Nystapi culture of the pre-Niväk era, in its placement of the shrines. Lacquerware being used in such a way, was done for a few purposes aside from religious foci, lacquerware served as a method of solidify control and focal point for cultural reform that made up the Niväk reforms. Example of this cultural solidification being the adaption of local bands cultural symbols and making them part of all Nystapi religious lacquerware designs, in a crude terms of this 'merged' the different bands own united cultural symbols and beliefs. More importantly, the new lacquerware was Nystapi own creation rather than trading it or having it constructed for them. The creation of their own lacquerware, became a symbol of Niväk changes and reform, which was seen as least controversial part and if not outright the most positive and accepted part of the reforms for a multitude of reasonings. Central reasoning being as select scholars put it, it was whole heartly Akuan in design and nature, despite the pressures from being forced to settle down. Nystapi Lacquerware was completely Akuan in religious form, without any Blåskovian influences.
 [[Category:Cowlass]]
 [[Category:Lapliszna]]

Nystapi People: Difference between revisions

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