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Calligraphy & Illumination
Kolfinna ValravnRoxbury MillAtlantiaWordifier
Læri-Sǫngr Aneleda FalconbridgeEast KingdomAtlantia, Hear the throaty carnax-callThis joyous coronation dayAs Quene Anya bids in warmthHer welcome to one whose wisdom is Worn well as antlers draping leaves Of ever greening love, and lore, and work.
Elemental to her summoner,To Ollam Lanea inghean Uí Chiaragáin
Who sings ever as the adarSongs of gold-gilt justness,Songs of silvered service,Songs ceaseless and sonorousAs the lullaby of labors,That is the Undine’s air,
From royal hold for received kindness,This sea-toned gift is given.Its aureate inscription smallTo rest within a shallow collar,A gramercy deep as any cauldron,Forged or wrought by earthly things.In Storvik or the world as knownBy this fifty-seventh yearAnd throughout all time.
Materials
Aluminum, ink, Neuberg-Ebel Extra Brilliant Rich Pale Gold #9 powdered micaSubstrate Size
12" x 12"Script
Archaic GreekSource
Exemplar: The Gundestrup Cauldron https://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/the-pictures-on-the-gundestrup-cauldron/ - MostlyThis pages includes an interesting animation of Plate E: https://archaeotravel.eu/lost-myth-of-the-gundestrup-cauldron-wild-hunt-sacrifice-and-rebirth/
Images and a bunch of interesting information:Summer, Lukas. (2018). 1.The origins of the Gundestrup cauldron - A smorgasbord of elements, scenes and cultural influences of Eurasia, from the Indus Valley to Gallia. The present master thesis discusses the different motifs and elements which influenced the iconography of the Gundestrup cauldron.
https://www.researchgate.net/publication/330933584_1The_origins_of_the_Gundestrup_cauldron_-_A_smorgasbord_of_elements_scenes_and_cultural_influences_of_Eurasia_from_the_Indus_Valley_to_Gallia
Abstract:"The first chapter includes the latest state of art which consists of two sections. The first one describes the two main explanation models that have located the artefact's place of origin based on its iconography, whereas the second is about the technical investigations of the material which have been used for the making of the cauldron.The second chapter describes the stag god Cernunnos and his various representations. The assumed origins of the figure are followed by finds of comparison on which a characteristic feature of Cernunnos appears: the cross-legged pose. The chosen objects originate from a geographical area that spans from the steppes of Eurasia to Gallia. The third chapter brings in an example of comparison to the cauldron, a silver fragment from the hoard of Săliştea. A description of the objects and of the purchase of the hoard is included besides a detailed analysis as well as different interpretations of this artefact.A list of sigils that are assigned to the ancient Indian Harappan Civilisation on which precursors of yoga figures are depicted can be found in the fourth chapter. In addition, parallels between ancient Indian and European image motifs are shown.The existence of cultural contacts between India and the Mediterranean world, through which an intercultural exchange developed, are shown in the fifth chapter. The sixth chapter demonstrates a development and transformation of an image, based on the motif 'The triumph of Dionysos'.The seventh chapter contains possible theories that explain how the depictions from the Harappan Civilisation could have influenced the illustration of Cernunnos on the Gundestrup cauldron." - https://www.researchgate.net/publication/330933584_1The_origins_of_the_Gundestrup_cauldron_-_A_smorgasbord_of_elements_scenes_and_cultural_influences_of_Eurasia_from_the_Indus_Valley_to_Gallia
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