La Práctica del Oficio y el Arte Alrededor de un Fuego: Everyday Sacred Hearth and Home Witchcraft & The Sagewordsmith Soul and the Art of Storytelling

European Household Magic

En el Día de la Mujer Trabajadora <3
#herbwife #homedweller #earthworking #firealchemy #TheSacredFire #TheSacredHearth #fireandsmoke #HouseholdSpirits #TheTraditionofHouseholdSpirits #HouseholdMagic #Ancestors #AncestralLore #TheFae #Threshold #HouseElvesPixiesFairiesWitches #TheHouseElf #TheKitchenWitch #KitchenWitchcraft #HedgeWitchcraft #FolkLore #HERBlore #HERitage


Many European folk beliefs and traditions are widespread from Britain clear to Russia. They simply have some variation, different names, etc. Obviously each culture is unique, but they are also related.
In her “European Mythology,” premier scholar on European folk tradition, Jacqueline Simpson, says that European folk custom is “pretty consistent throughout Europe, despite political and linguistic barriers” (p8). Therefore this article discusses folk beliefs and customs related to the European household that are found throughout Indo-European cultures.
A cauldron over a fire in William Blake's illustrations to his mythical "Europe, a Prophecy," first published in 1794.
A cauldron over a fire in William Blake's illustrations to his mythical "Europe, a Prophecy," first published in 1794.
The old European worldview originating in paganism, but continuing on under Christianity in some cases into the 20th century, was a magical one. People believed that spirits interacted with them and interceded in their lives for good and for ill. For most people in the past, life revolved around the homestead, and so it shouldn't be surprising that certain spirits, deities, beliefs, and rituals evolved around the home
{In the earliest times, it may be that the priest class held the secret of fire, tending eternal flames in temples in many ancient cultures.}
Thatched croft house in South Lochboisdale, Scotland. Photo by Tom Richardson, WikiCommons.
Thatched croft house in South Lochboisdale, Scotland. Photo by Tom Richardson, WikiCommons.

The Sacred Fire

Fire is one of the most primitive spiritual symbols of mankind because it was so essential to our survival. The concept of a sacred fire is found worldwide, but especially in colder Northern climates. The Celts are famous for their fire festivals at key times of the year, such as Beltane (May Day) and Samhain (Halloween). However, virtually all other European peoples also had fire festivals and often at the same times of year, including the Germanic, Baltic, and Slavic groups.
In the earliest times, it may be that the priest class held the secret of fire, which is why a tradition of eternal flames tended to in temples is found in many ancient cultures from Greece to Ireland. In fact, the Oxford Dictionary of Celtic Mythology, by James MacKillop, mentions several important places where fire is relevant in Celtic myth.
One story that reveals an ancient memory of fire is recorded in the Irish mytho-history, the Lebor Gabala (Book of Invasion). The ancient text says that a chief druid called Mide lit the very first fire in Ireland at Uisnach. This same fire is said to have burned continuously for seven years and torches lit from it were carried to light the hearth fires of all the chiefs in Ireland (p235).
Celtic Blackhouses kept large peat fire in the center of the home.The smoke dissipates out through the thatched roof without a chimney. Photo by Nessy-Pic on WikiCommons.
Celtic Blackhouses kept large peat fire in the center of the home.The smoke dissipates out through the thatched roof without a chimney. Photo by Nessy-Pic on WikiCommons.

{As time moved on and fire became a part of normal life it became associated with women and the home.}


So, it seems clear that in very primitive eras when the “magic” of fire was not well understood, it was associated with “magicians” such as the druids.

But, as time moved on and fire became a part of normal life, it began to develop an association with women and the home. Often sacred eternal flames were tended to by female priestesses, such as the Greek Vestal Virgins who guarded the sacred fire of Vesta. It is well known that the Irish Catholic Saint Brigid was adapted from the pagan goddess, also called Brigid. The goddess Brigid was associated with fire, and an eternal flame was kept by Saint Brigid's devotees, the nuns of Kildare, well into the Christian era.

It likely is no coincidence that these so called eternal flames were tended to by women. In the traditional European family, the woman's work typically revolved around the homestead while the man was doing more labor intensive work elsewhere. So, the matriarch of the house tended the family hearth fire, which was essential for the livelihood of the home.

This is precisely why the imagery of the cauldron over a fire is synonymous with the archetype of the female witch. These were everyday use items in the household, the worldview of the day believed in magic, and the hearth was associated with strong spiritual connotations.

A druid performing a sacred ritual involving fire and smoke for the Celtic Queen Maeve. Art by Stephen Reed, 1904

A druid performing a sacred ritual involving fire and smoke for the Celtic Queen Maeve. Art by Stephen Reed, 1904

Household Deities


There are two main types of household deities, and the first is generally known as the Hearth Goddess. She's usually a deity associated with the domestic sphere, women's issues, and honored at the house fire. The Norse Frigga, German Holle, Greek Hestia, Roman Vesta, Slavic Mokosh, and Celtic Brigid are some of the most well-known European goddesses found in this category.
Some hearth goddesses are associated overtly with fire, such as Brigid and Vesta, while others are associated with domesticity in general. Women’s work that was done around the homestead was often overseen by the hearth goddess. This work did not have the negative connotation that is sometimes applied to the term “women's work” today. The work done by women was just as crucial as that done by men. Just as women often lacked physical strength necessary for the hard labor chores done by their husbands, the large hands of men often were less adept at work requiring intricate fingering, such as processing raw fibers into yarn and textiles.
"Frigga and the Beldame" by Harry George Theaker, 1920
"Frigga and the Beldame" by Harry George Theaker, 1920
{The work done by women was just as crucial as that done by men.}
Without textiles, the family is not clothed and the beds have no blankets, as well as the myriad of other uses that made fabric a household necessity. Spinning and weaving could also provide an income source, so it was every bit as valuable to the household as any other chore. It is very common to see domestic goddesses depicted with a spinning wheel, and we see this in the Norse Frigga, German Holle, and Slavic Mokosh. It has been noted that pagan goddesses often lived on in folk belief and fairy tales, albeit diminished from their former role of goddess. The Lowland Scots fairy tale called Habitrot depicts a fairy godmother type figure associated with spinning who appears to be a vestige of a pre-Christian domestic goddess.
Frigga, by Helen Stratton, 1915
Frigga, by Helen Stratton, 1915

The House Elf

The other type of household deity is typically the male guardian of the property. Known as tutelary spirits, these guardians are thought to have originated as the male ancestor who first owned the property and whose spirit lingered on to guard it. In time, this evolved into the house elf tradition which lingers on profoundly in Teutonic culture from Scandinavia and Germany to England and Lowland Scotland.
I wrote another article about the mischievous side of these spirits (When Brownies Turn Bad) which contained a great deal of information on them, so I won’t go into too much detail here. But it is worth pointing out that these domestic spirits were thought to be tied to the luck and well-being of the household and family.
They were honored and propitiated with offerings of food, and in return they brought good fortune and prosperity by helping with the chores around the homestead. This would often be farm chores, but they might help with a profession run from the home as seen in the famous fairy tale “The Shoemaker and the Elves.”
{Domestic spirits were thought to be tied to the luck and well-being of the household and family.}
Art by Jenny Nyström
Art by Jenny Nyström

The House Snake

Another domestic tutelary deity seen in parts of Northern Europe, especially in Germanic areas, was the house snake. Unlike the house elf, which was a spirit, this deity was a living corporeal snake that lived in the family home, somewhat like a pet. It is not clear if this custom hearkens back to very ancient serpent worship tradition, as those tend to be seen more frequently in warmer climates.
My best guess was that the snakes were kept for the same reason cats were domesticated – vermin control. Snakes and cats kill rodents which carry disease. Less rodents means higher likelihood of a healthy family in those days, as well as healthy livestock which directly translated into prosperity.
So, it makes sense that in the context of a superstitious society which viewed their world in terms of magic, that a snake in the home could be seen as a symbol of good fortune which attributed it with spiritual value.
A snake in the home of a European family. Ernest Griset, circa 1870s.
A snake in the home of a European family. Ernest Griset, circa 1870s.

Places of Power in the Home

We have already discussed the hearth as a part of the house which held spiritual significance. This seems to be greatly influenced by its connection with fire. But, the hearth is also symbolically connected to women, and women were the sex who were generally considered to be the carriers of magical tradition in the home.
There are still lingering vestiges of hearth and kitchen imagery in modern traditions. The “kitchen witch” is a common motif in German households, and one finds little figurines of witches on brooms in many German kitchens. On the Eve of the first day of May, Germans celebrate Walpurgisnacht, a holiday with strong associations to witchcraft. This festival is typically celebrated with bonfires… not unlike the Celtic fire festival of Beltane, held at the same time.
{The “kitchen witch” is still a common motif in German households.}
Ukranian peasant's house by  Ilya Repin, 1880
Ukranian peasant's house by Ilya Repin, 1880

The Sacred Hearth

We see the hearth make an appearance in modern day Christmas lore, as well. It is well known that much of the Santa Claus lore developed in America, however, it was heavily influenced by Old World traditions.
There is a lot of debate on which figures influenced Santa Claus. My opinion is that he is an amalgam of many influences, and thus it would take a separate article to suss that out. Suffice to say that it seems clear that the house elf custom is one of those influences. Cookies and milk are left out for Santa in the same way that house elves were propitiated by leaving food out for them – their favorite being grain based food (cereals, baked goods, etc) and milk.
The fact that Santa arrives through the chimney into the hearth is another clue that he is a modern figure with ancient origins. Since we don’t always have traditional appliances in our homes today it can be easy to forget that the chimney would typically have been connected to the main fireplace in the home.
Unlike today’s fireplaces meant for cozy evenings in front of the telly, in a modest traditional home very often there was no separate kitchen and living room, but one main living space with a hearth for both heating and cooking in the center. So Santa’s arrival through the chimney is a nod to the ancient idea that the hearth held mystical connotations and was a place of spiritual activity.
It is easy to see the connection between Santa and House Elves in early depictions of "that jolly old elf" - before Santa's modern image was fully developed. By Arthur Rackham.
It is easy to see the connection between Santa and House Elves in early depictions of "that jolly old elf" - before Santa's modern image was fully developed. By Arthur Rackham.
{The fact that Santa arrives through the chimney into the hearth is another clue that he is a modern figure with ancient origins.}
The Old Hall, Fairies by Moonlight; Spectres & Shades, Brownies and Banshees. By John Anster Fitzgerald, circa 1875
The Old Hall, Fairies by Moonlight; Spectres & Shades, Brownies and Banshees. By John Anster Fitzgerald, circa 1875
{The house is not only a barrier to the elements, but it also shields its inhabitants from malevolent spiritual forces.}

Doorways for Spirits

French scholar Claude Lecouteux conducted an intensive study on European household spiritual beliefs for his book “The Tradition of Household Spirits.” He states that under common Indo-European belief, “the house forms a protective cocoon, one that is sacred and magical” (p48).
In other words, the house is not only a barrier to the elements, but it also shields its inhabitants from malevolent spiritual forces. This concept relates both to the rituals of house blessings and even to ancient hospitality customs.
Because the walls and roof of a home formed physical barrier that blocked both the physical and supernatural world from entering, openings came to be seen as portals through which spirits could enter the home. As explained above, the chimney was one of these portals, as well as the more obvious doors and windows. Therefore charms, amulets, blessings, and rituals were often placed or recited at doorways and windows.
Only the doorway remains of the Holy Island Church Ruins, Lough Derg, Co. Clare. Photo circa 1880-1914
Only the doorway remains of the Holy Island Church Ruins, Lough Derg, Co. Clare. Photo circa 1880-1914

Threshold Tradition

Another conspicuous place in the home was the threshold. Obviously this is tied to the concept of the door as a portal, but also as an especially sacred part of the entryway. The earliest homes had only one door and no windows. Even chimneys were a later addition, as very early homes let smoke simply escape through thatched roofs.
So the doorway as a sacred place in the home has a very strong and ancient origin. In addition to amulets placed over the door, vows were often sworn over the threshold, offerings to tutelary spirits could be poured over the threshold. And, just as hearth lore has carried on into modern times, we see the sacred nature of the threshold live on in the custom of the bridegroom carrying his new bride across it.

Blessings Charms, and Amulets

Jacqueline Simpson describes the relationship between humans and the spirit world as a sliding scale between malevolent and benevolent. And so folk customs developed as ways to nurture positive relationships with helpful spirits as well as protective rites to ward off evil ones. We discussed the protective tutelary spirits who guarded the home and that they would be propitiated with offerings to encourage future prosperity.
In Germany, a figurine of the Kobold (house elf) was often kept by the hearth. This tradition lives on in the popularity of gnome figurines in German households to this day. The house snake tradition evolved in Scandinavia where it became customary to bury the body of a snake under the threshold for good luck in the home.
Inscriptions beseeching the spiritual realm for blessings and luck are common in households worldwide. Today we see plaques or cross stitch designs that say “Bless This House” quite commonly in people's homes. These signs are still most commonly found above the main doorway and inside the kitchen.
{The iron hearth cricket ties the magic of the hearth with the magic of iron combined with the figure of a protective spirit.}

Protective Abilities of Iron

Certain materials were thought to be protective, especially iron. The concept of iron as a material of power is an ancient one. The art of smithing, like the earlier skill of harnessing fire, was initially seen as quite magical.
It was a skill that the average person lacked, but the wider community came to depend on their smithies for tools and weaponry. Metalworking represents man's dominance over the elements, and as such, iron took on very mystical connotations in the common imagination. It turns up as a protective amulet in fairy lore from Celtic and Anglo Britain clear to Russia.
Therefore, iron became a common protective amulet inside the home. A horseshoe over the door for good luck hangs there more for the material it was made of than for its shape. Simple iron nails could be placed over doorways and windows as well.
Up into modern times it was very common for people to keep figurines made of iron by their hearthsides. The cricket was a common one, and many readers will remember black cast iron crickets on their own grandparents' fireplaces. The iron hearth cricket ties the magic of the hearth with the magic of iron combined with the figure of a protective spirit.

Keep Our Traditions Alive

So many of our traditions have roots so very ancient that their origins trace to times in the very distant past. Sometimes it's easy to think we can't relate to people so primitive that fire was sacred to them.
Yet, we find ourselves repeating some of the same customs that originated with our prehistoric ancestors. These customs tie us to our families, our ancestors, our roots, and cultural past.
Whether we believe they hold magical power or not, or that spirits linger in our midst, why not revive some of these traditions? It's a way to honor our heritage, and inviting in a bit of good luck never hurts.
A modern example of a cast iron cricket for the hearthside.
A modern example of a cast iron cricket for the hearthside.

https://owlcation.com/humanities/European-Household-Magic

Carolyn Emerick writes about history, myth, and folklore of northwestern Europe.

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Bibliography

Leach, Maria. Funk & Wagnalls Standard Dictionary of Folklore, Mythology, and Legend. New York: Harper Collins, 1972.
Lecouteux, Claude. The Tradition of Household Spirits: Ancestral Lore and Practices. Rochester, Vermont: Inner Traditions, 2000.
MacKillop, James. Oxford Dictionary of Celtic Mythology. Oxford: Oxford University Press, 1998.
Miller, Joyce. Magic and Witchcraft in Scotland. Musselburgh: Goblinshead, 2004.

ARTISTS' DESKS


Beyond the realms of academia only one prominent individual has made it his life’s work to collect our current folk customs, superstitions and beliefs. His name is Michael Fortune, an artist who for 20 years has been rooting out and recording the stories and customs of his region around Wexford, initially, and then expanding it to include the rest of Ireland.
“I never intended to be a folklorist, nor even to make folklore the basis of my artistic practice. It’s just that I come from a coastal village in Wexford called Ballygarrett that is part of larger Gaelic stronghold called the Macamores, which has remained remarkably isolated and stubbornly undeveloped, where old dialects and customs survive intact. It’s a place still scarred by the legacy of 1798. I’m from a farm-labouring background, a people who didn’t go to ‘Hell or Connacht’ but hung on and shaped their lives on the fringes. It was these voices and stories that shaped me.”
-Originally shared by wonderful Kiva Rose
- Picture: One of my fav artists' desk, the illustrator Jill Barklem <3
"What does the interior architecture of the artist's workspace tell us about their process and practice? In psychoanalytic terms, it's often assumed that the artist's studio is a reflection of the artist's thinking. 
But nowadays, the spaces artists inhabit are very different than what they once were: they've had to adapt to a more migratory life, squeezed by bigger economic problems. The desk is really the only universal marker left, a synecdoche of the artist's studio; it's where the action is caught in motion, where bureaucracy and creativity meet [...]" by Char Jansen, Artslant

SHADES OF VIOLET

Exactly....shades of "violet" are what you will get when blue and red are mixed. Depending on how much of each is used and which medium is mixed, will determine the exact color shade of violet. Here are some pallets that ought to confuse ya...lol We are very creative and reinvent the names for many and varied reasons, but mostly to sell a product. '\_(**)_/'. Most people consider them shades of Purple, but Violet is the "true" color dominant when mixing the "true" red and blue pigment that do not have other colors already added.

If you’re mixing the primary color blue with the primary color red you will get a purplish color. But it will not really look like what you think of as purple. On a quick internet search just now, it will look muddy, like this color (4). Purple is a very hard color to make with paint. If you are a painter looking for a true purple, you’d buy a tube of it premade, like this… (5)

Blue and red, when mixed, make violet. (6)

Mixing red and blue together makes the color *violet*. Red and blue are primary colors, meaning they cannot be created by mixing two other colors, and *violet* is a secondary color, meaning it is created by mixing two primary colors. An artist can achieve different hues of *violet* depending on the ratio of the colors mixed. Mixing a large amount of red and only a little blue makes a magenta shade. Mixing a large amount of blue and only a little red makes a *purple* shade. Yellow is the color opposite *violet* on the color wheel, so *violet* and yellow are considered to be complementary colors.


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La imagen puede contener: 1 persona, niños y exterior

PENCIL & INK AND WATERCOLOUR

La primera persona que amablemente compartió esta técnica conmigo fue la artista Jane Starr Weils, a raíz de unos comentarios en facebook sobre sus fantásticas Solstice Witches, que están anotados en este blog. Primero lápiz, luego tinta y luego el fondo con acuarela; en su caso, luego da a sus dibujos mayor vibración de color, volumen y brillo con sus queridos Prismacolors (waxy, and you can overlap layers of colors).


color!!
blending, mixing, watercolor tutorials
watercolorpainting watercolorart watercolorillustration

Manelle Oliphant ~ Fantastic Tales
The illustration is only half of the story though. To read the other half go tohttp://ift.tt/2kx0pZn and you can read it. For this painting the whole this is done with watercolor. The under drawing is with pencil but not much of it shows by the end.
#watercolourpainting #watercolourart #watercolorillustration #watercolorpaintings

video {traditional ink}

Karen Gillmore Art {ink pen}
https://karengillmoreart.com/2014/02/22/technique-of-the-week-combining-pen-ink-and-watercolour/
http://www.studentartguide.com/articles/line-drawings
rotring! (my old painting) instead of using an ink pen (waterproof)
Almu Ruiz {lápiz o portaminas, rotring o estilógrafo, lápices de colores}
http://www.almuruiz.com/2014/10/calendario-de-noviembre-pintado-mano.html

rotring faber castell
Una vez que tengo el boceto con la idea que quiero hacer, lo hago de nuevo en el papel a lápiz y delineo los contornos con rotring negro 0´2.
Y ahora el color!!!
Comienzo el dibujo a lápiz y realizo todo el trabajo de claroscuro, volumen y sombreado con la tinta negra del rotring o estilógrafo. Su punta fina me permite llegar a todos los detalles, y gracias a los diferentes números, se puede conseguir una mayor gradación tonal. Empiezo con el 0´2 y me ayudo del 0´4 o 0´8 para las zonas más oscuras http://www.almuruiz.com/2014_10_01_archive.html

K'ank'in

Resultado de imagen de K'ank'in

Mayan Astrology Signs Interpretation: Those born in the K'ank'in sign are people of the earth and the sun. You have an affinity for both the planet beneath your foot and for the strong solar energies of the sun. Spend time under the solar rays meditating for there is wisdom for you. Spend time as well in and on the earth. If possible, meditate in a cave, or at least visit a cave and experience the calm tranquility of being in the womb of the earth mother. Your totem animal is the dog, specifically the yellow dog. Dogs are well known for their loyalty, but a less known meaning of this animal totem is their incredible inner strength.

PERRO 4/4/ al 1/5
Su nombre maya es PEK

LA MUJER PERRO

El valor de su vida no se mide por lo material, sino por el amor que atesora. El amor es el motor de su vida, cuidar de su casa y sus seres queridos. Tiene una actitud tradicional ante la vida, aunque es dueña de un corazón bohemio que no puede pasar sin sus aventuras. A veces puede resultar un tanto impredecible. Con su forma de ser, locuaz y espontánea, suele meter la pata y hasta meterse en unos cuantos líos. Sin embargo, su ternura y candor naturales parecen hacerla gravitar sobre los problemas. Posee mucha empatía, le gusta proteger y cuidar, y siente como propios el dolor y sufrimiento ajenos. Es el justiciero espiritual en la evolución del génesis maya.

En ciertos aspectos es impredecibles y ésta es una de sus características más constantes, se adapta con naturalidad a situaciones variopintas en la vida. Entre lujos no se siente cómoda, y aunque posea una buena situación económica, preferirá los muebles de madera, las ánforas de barro y las flores, los lugares sencillos y poco pretenciosos. Su casa parece una cabaña de Walt Disney y en realidad su vida misma es de película.

The Meaning of Yellow – the Colour of the Golden Sun


Yellow is the colour of light and the golden sun. The word is used to describe many things from sunshine to jaundice, and is one of the oldest colour words used in the English language (after white, black and red). It has its roots in proto-Indo-European language (which is the root of Afghan, Persian, Greek and English among others), although there is no written evidence for its existence. The original word for yellow in this language has been determined to be ghelwo, which entered proto-Germanic as gelwaz and then came into Old English and other more modern languages. It has the same Proto-Indo-European base, -ghel as the word yell; -ghel means bright and gleaming, as well as to cry out. Yellow is a color which cries out for attention. The oldest written use of the Anglo-Saxon word (geolu or geolwe) is in the epic poem Beowulf, in reference to a shield carved from yew wood.


Yellow was one of the first colours used in prehistoric cave art, such as at Lascaux’s image of a horse coloured with yellow ochre pigment made from clay (estimated to be 17,300 years old). Yellow was associated with gold by the ancient Egyptians, and was considered imperishable, eternal and indestructible (the skin and bones of the gods were believed to be made of gold). Yellow was used extensively in tomb paintings (either yellow ochre or the brilliant orpiment, though it was made of arsenic and was highly toxic) and small paintbox containing the paint was found in Tutankhamun’s tomb. It also stood for female energies, for the gentle and sensual. The ancient Romans used it in their paintings to represent gold or skin and it is seen frequently in the Pompeii murals.

turmeric powder

Yellow has been shown to stimulate mental processes and the nervous system, activate memory and encourage communication. It has meanings associated with joy, force, vitality, energy, warmth (yellow lamps are more natural and feel warmer than white ones), brightness (as the color of sunlight, yellow is aften associated to knowledge and wisdom, and in the medieval world yellow was the colour of reason, as opposed to passion [red] and the spiritual [blue]), freedom, personal power, control, fire and the eyes. Yellow is also the colour of the solar plexus chakra, which is linked to fire. It symbolizes a new day, life, rebirth, awakening, rising and new beginnings - a new udaya. A new sun is beginning to rise within you. The colour of the rising sun has the unique and unmistakable glow of shining saffron-yellow or yellow-orange (the color is not actually saffron, it is ochre). The name alone, which comes from the arabic za’farãn, marks the characteristic color of the noble spice and bears the meaning “being yellow”. In Greek mythology, Eos is cognate to Vedic Sanskrit Ushas and Latin Aurora (Old Latin Ausosa), both goddesses of dawn, and all three considered derivatives of a PIE stem h₂ewsṓs (later Ausṓs), "dawn", a stem that also gave rise to Proto-Germanic Austrō, Old Germanic Ōstara and Old English Ēostre/Ēastre, and this agreement leads to the reconstruction of a Proto-Indo-European dawn goddess. Eos, a Titaness and the goddess of the dawn, who rises each morning from her home at the edge of the Oceanus and hastens from the streams to open the gates of heaven for the Sun to rise, and thus, to bring light to mortals and immortals, is described by Homer in the Iliad as a beautiful woman with golden arms (krokopakhos) and rosy fingers wearing her saffron-coloured robe (krokopeplos) embroidered with crimson flowers. Ovid tells of Her in his Metamorphoses that she may bring the light of day in her chariot which she rides into the sky ahead of the Sun. She has a purple mantle that spreads out behind her as she rides, and she scatters flowers before her. The Vedic dawn goddess whose name the Sanskrit cognomen of Eos is the saffron-robed Ushas. What we're looking at is saffron (krokos) as a signifier of female sexuality in the ancient world. Athenian girls between the ages of about 7 and 12 were required to participate in a festival at Brauron, the Arkteia, referenced by Aristophanes in Lysistrata. For this, they were dressed in the krokotis, a saffron gown intended to make them look like ruddy little bears. The point of playing the bear for Artemis and stripping from the saffron-bear clothes was symbolically to come of age, to be transformed from being an untamed little wild girl and single into a woman and wife/mother material. And in a rite going back almost a thousand years before the Ancient Greeks, the sky father and the nature mother lay down by a river, and a bed of saffron crocuses sprang from the earth beneath them.


saffron stories

In the acrylic paint world the brilliant orange-gold-yellow color of saffron the spice is known as Indian Yellow – which could also be thought of as Native American, or Aztec/Mayan (K'ank'in) – with reference to East Indian, the Hindus, the Buddhists, the saffron or yellow-ochre robes (the robes may not be dyed with costly saffron, but cheaper turmeric or ochre), the special magic of this color, its sacred quality. At a Roman wedding, the bride would wear a saffron colored veil on top of her clothing, indicating the eternalness of the wedding vows – a tradition, which was adapted in a large number of cultures. The enormous symbolism of the gold-red saffron palette reaches across Eurasia and back into the deep history of its people from India to Ireland.




Shades of Saffron by artist Lil McGill

redware pottery - Rare glazed red earthenware brown pitcher with yellow and green splashes. Together with an olive-green handled jug with rust and yellow spots.
warm earthy colors

Shades of Saffron strikingly look like the warm earthy ochre colors of redware pottery. In the Buddhist tradition yellow is the color of the Muladhara chakra. The most basic chakra in the body is Muladhara. Muladhara is stabilization, not realization. It is the journey work of growing stable, rather than flying off into a blissful experience, of shaking the world as a magnetic force when awakened. Yellow indicates the Earth element, representing the beginning of new life. Muladhara chakra symbol is a yellow square bearing the mantra LAM as its sacred seed, one that crawls forward and eventually sprouts, re-emerges. 

Seed by Mara Berendt Friedman

Rain Steam and Speed: the Great Western Railway by J.M.W. Turner

Georges Seurat was later fond of yellow as, most famously, was Vincent Van Gogh who loved the sunshine, as he wrote to his sister, “Now we are having beautiful warm, windless weather that is very beneficial to me. The sun, a light that for lack of a better word I can only call yellow, bright sulphur yellow, pale lemon gold. How beautiful yellow is!”


The pressures of living in an imperfect world cause cracks in us all; but the good we do for others and put out into the world is the gold that repairs us and makes us beautiful. Some people are broken more than once; some cracks are more difficult to repair; and some people can be shattered completely, seemingly beyond repair. But everything that can be broken can also be restored. It may take greater effort, a longer time, and a deeper commitment to repair - but it is possible, especially when you realize there are only two responses to having been shattered completely: to choose to remain broken and useless; or to choose to rebuild yourself into something greater, and become entirely golden. No one ever chooses to be broken. But everyone can choose whether or not to stay that way.