For the Singharata, presentation and beauty are important things to consider, and appreciate in one’s daily life. As such, this sentiment is often expressed by the Singharata, resulting in a rich culture of art, architecture, and most notably, body decorations. The latter of which we will be discussing today.
Clothing:
Most Singharta clothing is designed with several things in mind; How to keep enough heat in an individual internally (because Singharata are cold-blooded), while also keeping the individual cool and from sweating profusely, due to the tropical environment in which most Singharata live in. Another important consideration is manoeuvrability and comfortability. Another, and equally important point in the eyes of the Singharata, pure aesthetic and appeal.
As such, Singharata clothing can be quite varied and fluid, especially depending on culture and location. Clothing ranging from being revealing, covered, loose, tight, colourful or perhaps a little plain. At the very least, as long as the ‘intimate parts’ (i.e, the genitals, breasts, or areas considered private by specific cultures), are reasonably covered, you can where what you wish. Though even in this there are rule breakers, as there have been a many clothing designs that reveal the cleavage of a woman, or have thigh slits in a man’s shorts. In general, most Singharata have clothing that blends open scales and clothing together, exposing arms, legs, chest, and waist, while covering the rest of the body. The waist in particular is quite a popular area of exposure, as in the Singharata mind, a slim waist is considered very beautiful and appealing. On both males and females.
Waist tied and/or draping garments, sashes, shorts, bandeaus, shirts, blouses (of various types), dresses (of various types), bodices and petticoats are just the few clothing types worn by Singharata. Enriched further by cultural heritage, location, resource accessibility, and the wealth of textiles and designs found throughout the lands of Wilayah. Each Singharata ethnic group preferring certain styles of clothing over the other, or has their own unique version of it. There are several traditions of dying and brocading present within Wilayah, and as such, textiles an export commodity for many Singharata nations, including Kekasaran, with a very rich tradition being built up around the practice in the nations themselves.
Accessory items are worn by individual Singharata as well, whether for cultural reasons or individual choices. As such, sashes, wraps, ribbons, plumages, fins, antlers, discs and crowns are all kinds of accessories found within the Singharata cultural scenes. Often such accessories are dictated by cultural heritage and station within society, thought here is nothing stopping a rich or poor Singharata from wearing colourful ribbons around their horns, or donning a spotty and colourful sash over their shoulders, draping back down to earth form their front of backs.
Jewellery:
As if clothing wasn’t enough to satisfy the Singharata, jewellery is used extensively by Singharata individuals, both male and female, rich and poor. Helped only by Wilayah’s abundance of gold and jewels, as found throughout the islands of the region. Bracelets, necklaces, arm bands, ankle bracelets, amulets, chokers, and a special category of ‘horn jewellery’ are all employed by the Singharata. Horn jewellery, for those who do not know, are a class of jewelry that is supported by or incorporates the horns of the Singharata into their designs. So whether they be chains (or similar items) that hang off the horns of the individuals, or are earing like, where the horn is pierced so that a jewelry may be placed there, are all apart of this category of accessories. Often, what separates a poorer man from a richer man, in terms of jewellery, is mostly the amount of jewellery present on the individual. Though craftsmanship and intricacy to play a role in what makes a piece of jewellery worth more, and thus making the individual pieces more expensive and coveted.
As said previously, gold and gemstones are the most often used materials for Singharata jewellery. Often made shinier through polish, and sometimes engraved with intricate patterns or scenes of nature. There are other materials that are used by the Singharata however, coral being foremost amongst them. Glass jewellery, especially glass beads, are fairly popular as well. Bracelets of beads, straw and kerjelet (a bamboo like plant) are also produced by Singharata, and these kinds of jewellery enjoyed for their more ‘natural’ feel. Silver, enamel, wood, seashells, ivory, and sometimes bone are also used fairly often in Singharata jewellery, and often artists will combine several materials to create masterpiece jewellery. So important is jewellery to the Singharata, that as far as anyone can remember, the title of ‘Kerajaa Kamasan’ (or The Royal Jeweler) has existed within the courts of Singharata nobles, and is more often than not filled by some individual of varying levels of mastery.
Cosmetics:
Cosmetics are also used greatly by Singharata individuals, whether for social, aesthetical, sexual or cultural settings. Each Singharata culture has its own take and spin on cosmetics, methods, reasoning and taboos regarding cosmetics. Colour is valued highly in general Singharata culture, and as such, colour manipulation is a staple of cosmetics in Wilayah. As such, eyeshadow and eyeliner are very popular cosmetic items, alongside (period appropriate) foundation, face powder and blush. Nail polish of any kind is rare, though, particularly rich woman with very fine and shaved claws might apply a coloured substance to their claws. Thus acting in lieu of nail polish.
Paint:
Continuing this line of thought, paint is used by Singharata on occasion to colour their bodies, among the Rakyat it is very common. Singharata usually paint colours that are a contrast to the individuals scale colour, and are either broad strokes of paint across the facem neck or elsewhere, or something more intricate. Patterns created from lines, swirls and dots that can be found on most visible parts of a Singharata’s body. Paint can be applied for numerous reasons, being used in conjunction with social or cultural event like a marriage, coming of age ceremonies, war or hunting to name a few.
In particular, paint was believed by ancient Singharata to have magical properties about them, especially when combined with specific patterns. This belief is still strongly held among the Rakyat, and while don’t actually believe in the magic of the paint, many still continue the cultural practice anyway. As a result of increased contact with the Rakyat, helped in part by Kekasaran’s holdings on Irunta Kulit, Singharata from the rest of Wilayah have begun the adoption the wonderful ‘tribal patterns’ of the Rakyat. Many painting themselves in patterns centuries old and full of meaning, with not many particularly caring of each pattern’s unique and detailed history.
Horn carving and manipulation:
Another practice found amongst the Rakyat first, and the rest of the Singharata, is horn carving. The care of facial horns is considered hygienic and civilised by Singharata, and many will try to fit a time in their day to tend to them. Some individuals manipulate their horns slightly, to make them sharper, smoother, or even have holes within them. Either gaping, or so they can fit jewelry within it. Attitudes towards horn manipulation can vary significantly by individual and culture, finding views that can be considered extreme, moderate, and everything in between.
Horn carving is only one form of horn manipulation, though is significant and unique enough to warrant its own section. Horn carving often involves carving patterns or intricate designs into the facial horns of the individual, the two back horns in particular. Similar to their painting traditions, the Rakyat had a belief in the power this carvings held, and having carved horns is generally acceptable, or even encouraged, across almost all Rakyat culture groups. Even though this style of horn manipulation isn’t generally liked or accepted by most other Singharata cultures, there are indeed non-Rakyat individuals who get their horns carved for a variety of reasons. Rebelliousness, a symbol of identity, personal aesthetic choice, or as a cultural practice of a specific ethnic group. The reasons are many, and the styles of carving even more!
Submitted February 04, 2019 at 04:05PM by Sgtwolf01 http://bit.ly/2UA0a1C
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