牡丹

The Peony in Li-Wen (or Mǔdān in the language of the Li-Ren) culture means good luck, friendship and feminine beauty. It also means wealth, it is a very important flower for religious traditions, or the Li-Ren New Century. The Emperor of Ai-zho for many generations was the only person to have access to these beautiful and sweet smelling flowers, at times gifting them to only the most favored of Concubines.  The Peony is often used in traditional Li-Ren paintings, silk embroidery, national clothes and decorations.

牡丹

The Peony in Oyashiman (or Botan in the language of the Oyashiman) means bravery, honor and good fortune. Generally though, it means prosperity, good luck, love and honor, while also symbolizing that of wealth.

모란

The Peony in Hyeol-Yeon (or Molan in the language of the Hyeol-Yeon) means honor, high social position and or standing,a symbol of peace and stability of the nation and wealth. A symbol of royalty, it can be seen in most high end Hyeol-Yeon paintings.

It’d been believed that they had some kind of medicinal properties, but after studying the flower, it has proven to have none so far. On the other hand they are edible, so if you're finding yourself in need of a snack look no further. While the flower might not have medicinal properties, the roots of the White Peony do and can be made into tea by soaking it into boiling water, giving the water a warm honey color. It’s believed this tea can support good liver and kidney health, also helping to fight off sickness, though studies have not supported these claims so far.

This flower can be seen in five colors:

 Purple

The Purple Peony when gifted symbolizes and means that of wealth, compassion and power.

Pink

The Pink Peony when gifted symbolizes and means that of wealth, good fortune and class.

Yellow

The Yellow Peony when gifted symbolizes and means that of wealth and nobility.

Red

The Red Peony when gifted means that of wealth, romance and bashfulness. It symbolizes a respectful and happy Marriage.

White

The White Peony when gifted symbolizes and means that of wealth, prosperity and mourning.

玫瑰

The Rose in Li-Wen (or Méiguī in the language of the Li-Ren) is the eternal spring flower and is a symbol of longevity and romance. Depending on the number of roses can mean varying things, such as one rose meaning love at first sight, seven meaning happy encounters and endless wishes and so on and so forth.

薔薇

The Rose in Oyashiman (or Bara in the language of the Oyashiman) means love, and the want to express one’s deepest feelings. While they don’t have much standing they are still a very pretty flower to give to a loved one and while they have only found themself in Yong Ping as of recently and are still trying to take on meaning.

장미

The Rose in Hyeol-Yeon (or Jangmi in the language of the Hyeol-Yeon) means “eternal blossom that never fades”, and “blossom from heaven”. Unlike the Li-Ren and Oyashiman cultures, the Rose has been a symbol of importance for the Hyeol-Yeon culture for centuries from the lands of Ai-zho, seen on Mother’s day with Lilies.

This flower can be seen in seven colors:

Red

The Red Rose when gifted symbolizes and means that of love, longing, desire, respect, admiration and devotion.

 Pink

The Pink Rose when gifted means that of admiration, elegance and grace. It symbolizes sweetness, innocence, gratitude and appreciation.

Purple

The Purple Rose when gifted symbolizes and means that of enchantment, elegance, majesty and splendor, symbolizing love at first sight.

Yellow

The Yellow Rose when gifted symbolizes and means that of friendship, nobility and happiness.

Peach/Orange

The Orange/Peach Rose when gifted means that of passion, energy and intense desire. It symbolizes modesty, genuineness, sincerity and gratitude to the individual.

White

The White Rose when gifted means that of purity, innocence and new beginnings. It symbolizes an expression of sympathy and mourning.

Signed,

Edict Kin, the Prominent Minister of Defense of the Jade State of Yong Ping, the third Duhu of the Yong Ping People’s Army, Danshaku and Omo of the Edict clan, Curator of the Jade Court, etcetera.

Hello, lowly peasant! I would like to begin with my congratulations at your capability to read, I am highly impressed! There are many reasons to have found this book: you may have noticed that even our peasants are happier than the nobility, more graceful, and more serene. Or perhaps you had recognized the inferiority of your culture, and wished to convert to a true society!

I digress, today I am to give you a primer regarding the Oyashiman language, particularly with respect to everyday words that you may hear. I must warn you in advance, as someone with such a simple culture such as yourself may have difficulty in comprehending something so advanced. I will do my best to explain the cultural context under which you (as a member of the peasant classes, undoubtedly), would perhaps find yourself in these situations.

• San:

  • This should be used mostly in common situations wherein they are referring to one of the same social class or occupation as themself. If they are referring to you as such, they are showing you much more respect than you understand and perhaps deserve.

• Sama:

  • This is used in reference to those of a higher social class than you, who in that circumstance are neither familiar enough nor important enough for an occupational title. You should end everyone’s name with this. And I mean you, reader.

• Dono:

  • This is used to refer to one’s liege lord. These people typically carry at least one sword on them every day (not necessarily, but quite often a katana). They are equivalent to your noblemen, you will never talk to them period. You shall use this for the people who are carrying such a blade.

• Tono:

  • This is to refer to the head of one’s clan, if one serves under another member of their clan. Again, you will never speak to someone in such a manner, as they are far too important for your time. But now you know.

• Chan:

  • Typically used to indicate a young female the speaker is familiar with. You will not be so familiar with our women, you will never use this. Even those children are considered of a higher social class than you. See Sama.

• Kun

  • Chan, but for boys. The same rules apply. Do not be so familiar with our children. See Sama.

• Senpai

  • Used to refer to an individual student within a martial art school or a student of bujutsu (a samurai in training) that is older than you, you should avoid people using this term if they do not appear to be doing either of those things.

• Kohai/kouhai

  • This is a term used to refer to a student within a martial art school or a student of bujutsu (a samurai in training) that is younger than you, you should avoid people using this term if they do not appear to be doing either of those things.

• Sensei:

  • Used to refer to a teacher of some form of martial art. Typically applied to skilled swordsmen, but can also be applied to any trade or craft wherein someone is typically skilled. If the speaker is addressing an individual wherein this does not appear to be the case, avoid the speaker.

These are the ones that you, a gaijin, would perhaps hear most commonly on the street. Of course there are many more, however I am sure you are already having difficulty understanding the complexities of the great Oyashiman culture. This is understandable.

Next we shall begin with the study of greetings and goodbyes. I shall show you the word, and then explain when it is used:

• Ohayou/ohayou-gozaimasu:

  • This is used during the morning as a greeting. You will use the second of the two, always.

• Konnichiwa:

  • This is used before morning but after dark. 

• Konbanwa:

  • This is used after dark, this is not the same as good night.

• Oyasumi/Oyasuminasai:

  • These are the ways you would give your final goodbye to someone. You will always use the latter of the two. It is the most formal. You will use it.

  •  

This concludes the topic of greetings and goodbyes.

Now we will begin with units of measurement, as these are what we, as the body of the world, use. As is the superior custom, we will utilize our measurement system, not an inferior gaijin system. It is important to note that only the nobility are the ones with coins, or at least they are the wealthier merchants. As such, it is simple:

• Kan:

  • This is the unit of weight of one bag of rice harvested by a villein (or peasant, as you might understand the name). However, it is much more than that. It is a representation of the work that was incurred in the harvesting of that rice. It is a useful bartering tool, as the merchants and smiths will value their labor and efforts through how much rice it would have put on their family’s table. Do not worry about our coin, you should not use it. Use the Kan, gaijin.

• Shaku:

  • It is roughly equivalent to one… I forget the word. It begins with an f. Foot. That is the word. 

Do make mental note that there are many, many more systems and words used depending on the context of what is being produced or procured, to include garments, carpentry, and the like. These are all you will be expected to know. Learn them and use them.

This concludes Oyashiman For Dummies (Gaijin). If you disagree with me, you admit to being an individual that needed to read this in the first place to understand Oyashiman. This argument does not hold up, I do not care. None of us will care. Please finish your business and be on your way. Thank you.

The Guqin, or as its more commonly known, the Zither.

The zither is an instrument found in Li-ren history for many generations, dating back even to the earliest Eras. Varied rumors have accumulated to how the instrument was invented, though no scholar or speaker could ever settle on just one and so it is still debated to this day. Some of the many stories will be covered with each edition to the Li-ren arts, though today we'll be touching on what exactly the zither is.

The instrument has come under many names, Guqin, Guzheng but most commonly that of the zither. It's a seven-stringed long-bodied instrument, traditionally the length of the days of that of a Dragons year and inlaid are thirteen dots of ivory, jade and other decorative pieces, aesthetic but offering the player of the instrument instruction as to the positions of the pitch. Not quite commonly known, unless close to a player of the instrument or a player yourself, the back of the zither would have its own individual name alongside poems or seals meant to make it unique to the individual.

When playing, fingers picks are used to prevent fingers from blistering and allowing sounds a better chance to come out. These finger picks would often be made of turtle shell, ivory or jade and to the untrained eye, seem to be fake nails upon the players fingers.

The strings are made of silk and for that, a delicate trained hand is needed in order to play the instrument without snapping a string. The traditional playing style consists of using the right hand to pluck notes and the left to add the pitch and vibrato, shifting along the strings and moveable bridges.

An unraveled rice-paper scroll, depicting the construction of the zither and each piece it takes.

There is symbolism to the creation and decoration of the instrument, though that'll be covered further in the rumored stories of its creation. Personal symbolism comes in that of the decoration one would do upon getting the instrument, making a once foreign piece an extension of themselves. The decoration would be that of names, poems, seals or works of art printed onto that base.

The carving of inscriptions is considered an artform, some even going as for as to collect zithers played by those in times before them, a great honor and even moreso if they were to be an ancestor. Some are passed down in the generations, each new user adding their own name in calligraphy, alongside a poem or saying to mark their work.

On the ends, that being the Phoenix Tongue and Dragon's Gum labeled in the scroll, other forms of decoration often found themselves there. Ivory or jade hanging and braided into fine fabrics, intricate charms that'd add an extra sound to one playing with each tap against the instrument or a hairpin poking out, multi-threaded strings of many colors dangling from the piece.

. 

An intricately detailed zither passed down through the generations, a work of art in itself and truly a beauty.

On the next edition of Yong Ping artforms, look forward to the various stories and history to that of the Zither. With this published work, the Chen family hopes to see more take up the art and become familiar with the instrument.

Signed,

Yunya of the Chen Household, Minister of Interior and Finance and leading Lady of the Arts.

Hyeol-yeon

Introduction

This is a starting post for a culture we hope to cultivate in Yong Ping. As time goes on, we plan to post more in-depth about clothing, food, and the culture in general. For reference, the Hyeol-yeon are roughly based off of Joseon-dynasty Korea.

Origin

During the Li Empire, they were called the Yuan, peoples of the Cunyuan Region. Since then they've undertaken two more name changes, referring to themselves in their native tongue-- first Salamdeul, which simply means “the people”. With time and history, they eventually settled on the name, Hyeol-yeon, meaning “blood-ties”, a name meant for loyalty to family.

History

Tribal Era

As written in the Easterner Lore, elves were the first to inhabit the land of Ai-zho. Elves were known to inhabit the northern, mountainous area of Cunyuan, while humans began to move into the lower flatlands. In the rest of Ai-zho, elves were driven out by waves of human migration-- however, in the Cunyuan Region, they persisted as the primary race. At this time, there was a human empress known as Lady Hyeol, and an elven general named General Jeong, who went on to discover their respective kingdoms in the First Era, becoming near-legends in Hyeol-yeon history. At this time, they were all known as the Yuan.

The First Era

The Li empire forms, and the Yuan people of the Cunyuan Region are a tributary region to the Li, made up of two kingdoms. One kingdom, Jeong, was primarily proto-elven-- made up of elves that immigrated to Ai-zho before the splitting of elven subraces, the nation was known for intellect and grace, and founded by General Jeong. The other, called Hyeol, was primarily human, split off from the newly-founded Li empire and known for a rebellious bloodthirst for their Li masters-- founded by Lady Hyeol. At this time, the people of this region were known as the Salamdeul.

The Second Era

By this point, the elven and human kingdoms came together, forming the Hyeol-yeon Empire. The Hyeol-yeon Empire was formed by a descendant of General Jeong, named Jeong Jin-ae, and a descendant of Lady Hyeol, named Hyeol Tae-il. The two founded the two royal families of the Hyeol-yeon Empire-- since this time, the Empire would have two Empresses and two Emperors at any given time, almost as if they were two kingdoms that worked in tandem.

Third Era

The Li Dynasty exerts its power over the Cunyuan Region, beginning a rule to last 400 years. However, under the Li Empire, the Hyeol-yeon managed to work out a sort of symbiotic relationship-- as their intellectual sciences and propriety of courts drew in the Li, the Li repaid with protection to live in peace. The elven half of their courts thrived, as the proper, intellectual half of the kingdom, while the short-lived human half started dwindling in number.

Fourth Era

The Li Dynasty has ruled for nearly 400 years, serving to isolate the Cunyuan Region. The elves continued to thrive, hidden away in their elite courts with the Li, while the more crude human races were left to the streets. Only the most elite of human classes are allowed to exist in Hyeol-yeon courts at this point.

However, in modern times, there is slight social reform as the Hyeol-yeon Empire begins to open to the outer world after the Li release their hold on the region. There is often a friendly but constant pressure from Oyashimans, reminding them of their common oppressor. Because of that, Oyashimans and Hyeol-yeon have a friendly but strained relationship-- more friendly with humans, and more strained with elves.

Physical Appearance

Within the culture, one might find the Hyeol-yeon people's appearance is an interesting one. Eye colors range anywhere from a honey brown, amber or to a deep black. Skintones range from an alabaster to honey or tan, generally darker in appearance than non-Easterner peoples. Hair colors range from light to dark browns and a variation of blacks. They take great care in their appearance, very uniform in nature. Their stature is the same as the average human, if not a bit on the small and lithe side. 

Clothing

The main article of clothing Hyeol-yeon will wear is the hanbok. A hanbok consists of a blouse or jacket called a jeogori, and a skirt called chima or loose pants called baji. The colors and patterns of the hanbok often denote the status of the person wearing it. For example, a phoenix symbol denotes royalty.

Culture

Family

Children within the Hyeol-yeon culture incur a debt to their parents who gave birth to them and raised them. This debt lies behind the idea of filial duty: treating parents respectfully at all times, taking care of them in their old age, mourning them well at proper funerals, and performing ceremonies for them after their deaths. Even fulfilling these duties, however, is not enough to repay the debt to one's parents. The full repayment also entails having children and maintaining the continuity of the family line. Younger children and their wives eventually split from their extended families after a few years of marriage but still considered dependent upon their family. While eldest siblings succeeded to the family leadership and inherited the bulk of the wealth. When their parents die, the eldest child adheres to complex mourning restrictions for one to three years, and conducts annual memorial ceremonies for their parents and other members of their family line. Young children are indulged; Hyeol-yeon feels there is no point disciplining children before they are old enough to reason. By the time a child reached six or seven, though, training began in earnest: parents began the strict separation of girls and boys and they trained children to use the respectful voice to those older or more socially prominent. By the time a child reaches seven, they’d know that they must use the respectful tone of speech to their older sibling, and knew that failure to do so would result in swift and certain punishment. Marriages are oftentimes arranged, though as of recently, love marriages have become more popular.

Fighting Styles

Hyeol martial arts are purely based on keeping their distance from an enemy, bows are heavily used, alongside spears and lances and the art of horseback is heavily taught. Tridents and flails are a part of the weapons training, giving the combat some more flexibility and reducing damage the user might find to themselves as close-quarters combat would be avoided.

Traditions

Jangseung

Jangseung are extraordinary, striking statues that stand as protectors over the Hyeol-yeon people, sheltering them from harm and are totem poles usually made of wood and sometimes made of stone. Besides greeting visitors, these striking pillars were created to scare away evil spirits that caused famines, natural disasters or epidemics. They’d pray for the health of their families, for a baby, or for a wonderful husband or kind-hearted bride. Thus, the resilient jangseung protected the village from harm and also served as a guardian, with its ears open to the wishes and hopes of the people. Rituals would be conducted, placing offerings of rice cakes and fruit at the foot of their honored guardian.

Ssireum

A traditional Hyeol-yeon sport, Ssireum involves using one's entire body in a battle of strength and technique. Two competitors grab one another's belt (called "satba") or trousers and use a combination of physical strength and strategic technique to be the first to knock the opponent to the ground and be declared the winner. In order to win a Ssireum match, physical strength, technique and endurance are required. With the sport's balanced focus on the development of both physical strength and mental fortitude through accurate judgment and patience, Ssireum is a highly beneficial sport on many levels. Ssireum is a beloved sport and while tournaments are held year-round, they are especially prevalent at holiday celebrations and festivals.

A Game of Jong

A board game played is called Jongjeongdo, or “climbing the government career ladder”, it’s a game of the career path of an official. People become officials by passing an examination known as the gwageo and receive promotions or punishment according to their service and tenure.

The game starts with a person passing the gwageo to become an official. Players toss a special five-sided die, and advance through government positions on the board based on the number that comes up. The winner is the first to reach the highest positions of premier and commander-in-chief of the military. If no five-sided die can be found, a normal six-sided die can be used, with a rule to roll again if a six comes up. A wrong move could get a player “impeached” and removed from office, or even forced to “drink poison”. Of course, no amount of die-tossing could make a player into the king.

Naming Conventions

Last names should be written first, [example, Byun Cha, Byun being the last name and Cha being the first name]. Hyeols usually spell two-syllable names as a joined word or with a hyphen in-between, [example, Chu Jeong would become Chu Je-ong].

Female Names: Ha Eun, Ji Ah, Chin-Sun, Dae and Gi.

Male Names: Min Joon, Chul, Du-Ho, Hyuk and Joon Woo.

Marriage

The couple both wear a traditional outfit called the Hwarot, a variation of the Hanbok. The bride has to wear red and the groom has to be in blue. The color represents the balance of the energy between the two. Red dots also get painted on the bride's cheeks as a symbol to protect from evil spirits.

Additionally, the bride and groom's mothers will also wear specific colors to symbolize their familial relationship with the bride and groom. The groom's mother will wear a light blue hanbok specifically and the bride’s mother will wear pink or purple. Guests should avoid wearing colors similar to those.

Beforehand, betrothal gifts are brought to the bride's home by a band of the groom's closest friends. The gifts are placed in a box called a hahm. The group would arrive singing at the bride's family home and they would stop just outside the house, chanting, "Hahm for sale, hahm for sale!" The bride's family would rush out and offer money or gifts to the group. Through fun negotiation and laughter, the bearers would be bribed until at last the hahm was delivered. Hahm is supposed to be a box full of gifts to the new bride. It will be something like jewelry, money, nice clothing and such. It's a very festive and fun activity before the wedding, as they’d also make the groom wear a dry squid mask during the process of the gift-giving.

To kick off a wedding ceremony traditional music is played. While the groom would ride to the bride's home by horse. As part of the parade, both mothers will walk in holding candles, the ceremony beginning when both moms enter and light a candle together and take a seat in the first row. The mother of the bride traditionally carried a red candle and the mother of the groom entered carrying a blue candle. Before the wedding, a tradition known as jeonan-rye takes place. As part of jeon-an-rye, the groom gives the bride's mother a wild goose Wild geese mate for life, so his gift is a promise that he will care for her daughter for life.

To show their commitment to each other, the couple ceremonially bows during a part of the wedding ceremony known as gyo-bae-rye. Later, the couple will bow toward their parents during seong-hon-rye as a declaration of their marriage.

After bowing toward each other, but before bowing to their parents, the couple historically sealed their marriage vows by sipping a special wine poured into a gourd grown by the bride's mother during a tradition known as hap-geun-rye. The bride and groom sip the wine from their separate cups and then the wine is mixed together, poured once more into the cups and it's sipped again. This is their wedding vow, the kunbere. The pye-baek is the part of a Korean wedding that follows the vows, or the kunbere part of the wedding. During pye-baek, chestnuts and dates, known as jujube, which symbolizes future children, are exchanged. Wedding banquets can be very simple: Noodle soup being the only required dish as long noodles, symbolizes a wish for a long and happy life and are boiled in beef broth and garnished with vegetables. Dok, a sticky rice cake, is served at most events, especially weddings.

Death

Hyeol-yeon funeral traditions begin as soon as a loved one dies. The family wails in a show of emotions called kok to announce the death in the community. The wailing may continue until the cremation. Sangju — the chief mourner — is the first child or grandchild of the deceased. They “let” their parents die, so they are believed to be committing crimes against heaven. As an expression of filial piety, they are in charge of the pre-burial, funeral rites, and memorial. 

The sangju is in charge of preparing the body. The deceased is covered with a white quilt or burial shroud. The body is washed with incense, nails are cut, and hair is combed. Cotton is put in the mouth and ears, coins on the eyes, and rice in the mouth. This ritual helps the deceased in their journey into the afterlife. In the end, the body is dressed in suui, the traditional hemp funeral garb. Mourning begins as soon as a family member dies, and it continues for three days. Mourners hold the funeral procession, and the body makes its way to the temple. During the funeral procession, a noje — roadside memorial — is held to make sure the deceased doesn’t come back to haunt the living if they weren’t given a proper farewell. The body is lowered three times to signal the departure from the home to the deceased spirit. The procession reaches the temple, and a monk performs a ritual to rid the site of evil spirits. An offering of food or wine is made to the spirit. Family members continue to visit the gravesite with offerings on the second and third day after the burial. They make deep bows at the gravesite on the third day. They put away any pictures or ancestral tablets placed in the home. A portrait is present at every Hyeol-yeon funeral. It’s common for Hyeons to choose their own portrait before death.Open grief is a sign of dedication toward the deceased. Wailing doesn’t stop for the entire mourning period, family members yelling “Aigu, aigu” for a parent or “Oi, oi” for other relations. The chief mourner wails for the longest time. It is an expression of grief or even guilt.

There are three times to wail:

• After death.

• After the washing and dressing of the deceased.

• The sangju wails every morning and evening for three years. 

After the first year, the wailing subsides to twice a month. Hyeol-yeons show as much emotion as possible while they grieve. How hard family members sob is a reflection of their dedication to the deceased. Traditionally, they’d sing a loud and mournful chant. A black Sangbok is worn, consisting of a hemp hat, leggings, or an armband. The deceased are cremated and oftentimes turned into cremation beads which are put into special urns on an altar in the home.

Social Hierarchy

Royalty- The royalty of the Hyeol-yeon are the highest class on the hierarchy, leading the Hyeol-yeon people and given the highest of educations from a young age, following the matter of religion and learning various skills that’d assist them in the tenure of ruling or various high-ranking positions in life.

Yangban- In the Hyeol-yeon social hierarchy, the Yangban refers to the elite class of office holders or government officials who have passed the prestigious civil service examinations. There are two groups in the yangban class itself: one that comprises of scholars and officials and the second group comprises of remote relatives of these officials. The yangban class generally achieved their positions through educational success and are considered merit based elite.

Chungin- The chungin class is lower to the yangban in the social hierarchy and above the commoners, and comprises a small cluster of technical and secretarial officials. This is inclusive of interpreters, physicians, astronomers and artists as well as specialized military officers.

Sangmin- The vast majority of Hyeol-yeon belongs to the Sangminor commoners class in the social hierarchy. Common merchants, farmers and craftsmen belong to this class and they bear the burden of. They were subject to military enrolment as well and live a hard life compared to yangban and chungin. In the social hierarchy, although the farmers enjoyed a higher prestige than merchants they nonetheless lived a tough life.

Ch’ommin- The base people or Ch’ommin are considered below the commoners and they normally do the despicable or low grade jobs. This class is inclusive of the jail keepers and convicts, professional mourners, and executioners. The group known as Paekchong are also included in this class, who are believed to engage in ‘unclean jobs’ like dealing with hides of animals and meat. 

Religion

Hua-jiao

To become an individual that is connected to the world and enlightened to the true cycle that has the world’s peoples reborn continually, an individual must liberate themselves from the cycle of rebirth that has encompassed the land through the following of the Eight Noble Paths of the Huajiao religion. By following these Eight Paths, one can release themselves from the cycle, attaining the height of one’s existence by ending one’s ignorance and one’s rebirth - The true goal of the Path.

Fine Arts

Arts and Music

The Hyeol-yeon culture focuses heavily on calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds.

Hyeol-yeon calligraphy is seen as an art where brushstrokes reveal the artist's personality enhancing the subject matter that is painted.

Some Hyeol-yeon paintings demand an understanding of ceramics and pottery as the glazes used in these works and the textures of the glazes make Hyeol art more in the tradition of ceramic art. Brush-strokes are very important and paintings are often judged on brush-strokes more often than pure technique.

Hyeol-yeon is closely tied to ceramics which represents tile work, large scale ceramic murals, and architectural elements.

Bamboo pyrography is a unique artwork involved with burning patterns and art on circular bamboo containers.

Food and Agriculture

Hyeol-yeon meals often include side dishes such as mandu, noodles, rice cakes, porridge, soups, and pickled vegetables. Meals are elaborate if you are at the top, there being a specific way you would place dishes and the amount you would get depended on your rank. The king would get twelve dishes and the nobility would get around nine. 

Architecture

In Hyeol-yeon architecture, buildings often have a stone foundation leading to a curved roof covered with tiles, walls are made of earth and are sometimes composed of sliding doors. Architecture is built according to the kan unit, the distance between two posts (about 3 blocks), and is designed so that there is always a transitional space between the "inside" and the "outside."

Language

At the moment, we just use a rough, modern Korean dotted throughout our vocabulary for the sake of simplicity. You likely won’t need more than basic phrases. However, if you’d like to include things like dialects, accents, so on-- feel free to do so. A more in-depth language post may come one day, but in the meantime, it’s very loose-- not much to concern yourself over.

Hello - Annyeong (informal), annyeong haseyo (formal)

How are you? - Eottohge jinaeseyo? or jal jinaeyo?

Good - Johayo or joheun

Bad - Anjohayo or nappeun

Thank you - Gamsa (informal), gamsahamnida (formal), gomawoyo

You’re welcome - Cheonmaneyo

Please - Juseyo

Sorry - Mian (informal), mianhaeyo (formal)

Yes - Ne or ye

No - Aniyo

Goodbye - Annyeong (informal), annyeonghi gyeseyo (formal)

Father - Appa (dad), abeoji (father)

Mother - Eomma (mom), eomeoni (mother)

Brother- Hyeong

Sister- Jamae

Elder- Eoreun

Daughter- Ttal

Son- Adeul

Child- Ai

Relative- Chinche

I love you- Dangsine sarang

Credits/Citations/Lore Used

Easterner Lore

Recent History
Easterner Cuisine

The Li-Ren

The Oyashiman

[ 书香门第 (Courtyard), Wang Meifang & Zhao Guojing ]

Introduction

From humble beginnings on a simple tower atop Talon’s Grotto in Arcas to the nation that Yong Ping is today, the culture of the Li-Ren is now being appraised and pushed center stage, all across the continent. One of our culture’s most notable parts that tend to make onlookers stop and gaze is our customary dress — our hanfu. It is this style that elevates us from any other culture on Ai-zho — no, on all of Almaris for that matter. Unlike the western fashion of our neighbors, it is the fashion of the Li-Ren that prides itself on grace, elegance, and overall hygiene rather than appeals to a ‘marriage market’. It is our fashion that leaves room for more encompassing styles, rather than constantly sticking to a binary of the two sexes. Yet, it is something rarely ever deeply looked at compared to the fashion of the foreigners. Why is that? Is it simply just ignorance - blissful ignorance of our long history and how that itself ties into the very clothes we wear? I aim to change that.

What is hanfu?

Hanfu, 漢服, is a Li-Wen term, referring to the customary clothing of the Li-Ren, those who follow the customs of Li-Guo. They are characterized by their flowing sleeves, as well as the tight belt or sash to hold the ensemble together. The placement of this waistband can, but not always, depend on the gender of the wearer. What the hanfu is not is a robe for one unfamiliar or unassociated with the culture to simply put on like a simple costume, or ‘dress’. That would be a sight all too disrespectful.

For both men and women, hanfu are all categorized by different names, creating hundreds of different styles with many accessories, and each of these styles come inspired all from the eras of our great history. The trending sides of fashion are never usually so fast paced - a style from centuries ago, or even our very beginnings, can be one you'd see in Yong Ping, or even back in our homeland. This study will be more about those styles, rather than the makings of the clothing. That information, I believe, should be held only amongst our own people.

[!] Following the introduction of the study, the next pages would be filled with simple diagrams - painted sketches of each type of clothing Xiahong described. Though he wasn't so skilled in painting, he certainly tried his best. 

Men

裋褐 / Shuhe

The shuhe combines a cross-collar tunic with a sash and trousers. This style I have seen more popularized amongst the common folk, and mostly small children as well. It proves to be convenient and practical, perfect for activities done in one's daily life, such as farming- or more laborious tasks. Though, since it was made for these tasks, finding a shuhe made in more expensive material can be a hard feat. Why risk ripping or dirtying expensive silks in such an outfit when you can wear one of more comfortable material?

道袍 / Daopao

A style commonly seen among the old scholars and gentry of the past, a daopao, on its own, is a full length, cross-collar, single robe with side slits beginning below the waist. It is easy to see why it was such a common choice among the men of the upper-class. How fashionable one would find himself in a daopao! While I can’t speak for other Li-Ren men, I can say with all pride it is a personal favorite. A daopao can come in two different ensembles. One would be the pifeng 披风, a parallel-collared, open jacket. [Spoiler: Pictured in the 2nd example above] It bares similarities to the beizi 褙子 women wear over a ruqun. The other outer garment is a dahu 褡护, a wrapping robe with half sleeves. [Spoiler: Pictured in the 3rd & 4th]

圆领袍, 圓領衫 / Yuanlingpao, Yuanlingshan

Making appearances around the formation of the newly prosperous Li Dynasty, the yuanlingpao is a closed, round-collared robe that can be combined with trousers. If I made a point of the daopao being a personal favorite, the yuanlingpao comes at a close second. With how long this type of hanfu has been present, it has had time to make an impact even to Li-Guo’s neighbors, the nobles of Oyashima once taking inspiration in their early history. The hem of this robe comes in either long or short sizes - the latter reaching to one's knees and the former often times reaching the ground itself. It is common to see those in the guard of Li-Guo wear this, but now, it is simply a popular style among men of any age.

曳撒 / Yisan

The yisan - more high class, embroidered patterns referred to as the feiyu fu 飞鱼服 (the flying fish uniform), is a one-piece robe with a cross-collar top & large pleated skirt. Making its first appearance in the reign of Emperor Liu-hong, feiyu fu were once only awarded by the Emperor to eunuchs and members of the imperial guard. But, as time took its toll- and especially with our migration to new lands, the yisan became a common, preferred style of the younger upper class. The yisan of today can be differentiated from the uniform of the past with less embroidered designs - even the Zhanshi regiment carry out the style beneath the clads of their armor.

衣裳 / Yichang

Similar to a ruqun for females, the yichang is a cross-collar top, that combines a wrap around skirt. A standard hanfu for men, there are many liberties one can take with a yichang. The flowing sleeves can often be wrapped up for combat with wrist guards. Or, one can simply don a dachang 大氅 over it, an open-fronted robe [Spolier: Pictured below]. Now, I have seen some make the mistake of confusing this combination with the Oyashiman haori and hakama, but these differences are easy to spot, as the haori is much shorter - in both sleeve and robe size.

Women

齐胸襦裙 / Qixiong Ruqun

Arguably one of the most popular styles among women, the qixiong ruqun (chest-high skirt) utilizes one of the most basic type of hanfus, a ruqun- quite literally a wrap-around skirt (top for ru/襦, skirt for qun/ 裙), and by placing the waistband at the chest, promotes strong posture among women. While it’s counterpart, the qiyao ruqun 齐腰襦裙 (a waist-high ruqun), is just as popular a style, this style is commonly seen amongst even the most noble of women, a look of elegance and beauty among the wearers. Coming into Yong Ping, this is a style you will see constantly.

袄裙 / Aoqun

The aoqun consists of a top with double the layers, referred to as “ao 袄“ and the classic waist-high qun. Unlike other ruqun that have the top tucked inside the skirt, the top of an aoqun is worn untucked, above the skirt. There are two sizes an ao comes in- short and long. The short ao reaches the waist, while the long ao will cover the knees. They first made their appearance in the previous era of Li-Guo, just before the start of Tai Ping back in it's first continent - Arcas, relatively new, and mostly seen worn by the women of the court. The length of an ao can sometimes make all the difference; the shorter the ao, the more youthful the look, and a long ao gives a more conservative and mature one.

比甲 / Bijia

A bijia is a sleeveless jacket with side slits, similar to a “vest” in the fashion of the foreigners. It’s typically worn over Aoqun. Bijia does come in different styles, just like the aoqun it is worn over - namely, different types of collars; a Jiao Ling 交领 (cross collar) [Spoiler: Pictured first], a fang ling 方领 (square collar) [Spoiler: Pictured third], and a dui jin 对襟 (parallel collar) [Spoiler: 2, 4, 5]. The length can go from either the hips, to all but an inch or two off the ground. It is not such a style that I see often, though I wish that would change, seeing how sophisticated it makes one look.

褙子 / Beizi

The beizi is a parallel-collared “jacket” coming with side slits starting at either the armpit or waist. It is possible to secure one’s front with a tie or a metal button. Since they tend to be extremely versatile, they come in various sizes, as well as their sleeves. Perfect for the summer and hot temperatures, a style that has always been a trending look, even back in Li-Guo, is a beizi over a chest undergarment and skirt. Even for a woman with no noble or wealthy background, this style was easily accessible - at least, compared to other options of hanfu specific to women.

Unisex

曲裾 / Quju

A type of Shenyi 深衣 (a long full body garment), the quju is a curved-hem robe, in which the bottom hem of the left lapel spirals its way up to the waist of the wearer. This happens to be one the oldest types of hanfu, dating back to even the first days of Li-Guo’s unification. Though it’s a style seldom seen in Yong Ping, more modernized versions have been made, sleeker on the body than the quju of the past.

半臂 / Banbi

A banbi is simply a half-sleeve jacket, worn by both men and women. Like most overgarments, it comes in various lengths, worn over ruqun or yichang, coming in either a parallel, crossed, or circular-shaped collar. When paired with one’s hanfu, it can be worn tucked inside the skirt as well as over the skirt, untucked. Like the beizi, this is an overgarment perfect for the summer's heat - keeping one cool while still making them fashionable! Due to it's lightness, it is perfect for daily activities, no matter the expense of the material - not in the least bit restricting to the body.

直裾 / Zhiju

Another type of shenyi, the Zhiju is practically the basis for hanfu, a one-piece, cross-collar robe, obtaining its name in contrast to the Quju. However, unlike the Quju, the Zhiju’s bottom hem circles around levelly, making it essentially a straight robe. Worn by both men and women, wealthy and poor, this hanfu has been around since even before unification, going through just as many changes as it has lasted this long. Depending on the material - or even the overall mood of the wearer - it can either be something formal or just simple casualwear when one is going outside. I even happen to wear a light one in my sleep.
 

Children

[ credit to 伊吹鸡腿子 (ibuki satsuki) ]

When one is so young, flashy appearance is not something always considered. A child you will most likely see in something more practical. Children’s hanfu is generally similar to that of their elders, only the outfits and materials favored are made to be gentle on a child’s skin. For example, it would be hard to picture a small girl in a qixiong ruqun, with a sash restricting her chest and keeping her straight posture at such a young age. Our little ones usually wear outfits with separate tops and bottoms, such as the shuhe mentioned earlier. It is not uncommon to see one’s toddler in just a banbi alone, or with a beizi over their ruqun. Any combination goes, so long as it lets the child do what they’re meant to do- play around freely.

Hair

[ [!] An author's note, written on the following sketch that showcased the many hairstyles and headresses of the Li-Ren. "This time, this sketch was not me! I've gotten a ghost artist - I'm afraid I've exhausted and grown insecure of my own artistic abilites!" (All credit to Mona! Wow, I drew that!) ]

Where would we be in a study of fashion without including the most crucial aspect of Li-Ren culture— one’s hair. Every Li-Ren has uncut hair, the cutting of hair for men something more for foreigners. It is usually when speaking to them, even my gender has been constantly confused and assumed based on my hair alone. As a child, hair can be worn or cut however they want - it is by the parent’s hand the hair is being cut, anyway. However, upon reaching adulthood, one’s hair is to remain uncut until death. We have been taught from youth that our bodies - to every bit of hair and of skin - are bestowed to us by our parents, not something to be injured or wounded. However, just because it is uncut doesn’t mean it doesn’t come with it’s own elaborate styles.

Upon reaching adulthood, a young man ties his long hair into a bun either on or behind his head. Having half of his hair down provides a youthful look, and I have seen much of the youth adopt this style - including myself. However, the topknot is something that always remains untouched. A hair stick called Zan 簪 goes across that bun in order to stabilize the hair. When one happens to be more privileged, they will use a guan 冠 to hold their topknot. If not wearing their hair down with their topknot, Li-Ren men adopt hats and headdresses over their hair, a display of either the wearer’s profession or social rank. 

It is the women, in almost every culture it seems, that do the most with their hair - even from youth. The most popular style among young girls, the Shuang Ya Ji 双丫髻, The Double Maiden Bun, is practically the symbolism of youth, and I have always seen, even when I was in my youth, the style worn by girls in their teens or much younger. The trending style consists of two buns atop the head, one on the left and one on the right. After reaching adulthood, foregoing coming-of-age ceremonies, or even getting married, women tend to give up these youthful double bun or loop styles, instead either putting up their hair into single buns fixed with jade hairpins, flowers, and other accessories, a look more mature and refined, or letting it flow down, accessories decorating the very top of their heads.

In Closing

As it stands this moment, I believe I have only scraped the surface of the extensiveness of Li-Ren fashion and its history. Like all fashion, with all the influences that face it, it is someday bound to change. As an old man with experience - and somewhat of a bias for the days of his youth - I hope that day does not come soon. A though even more worrisome - I hope that the coming influence does not come from the common cultures of the continent. Each beautiful style of the hanfu has survived for so long by being completely and utterly Li-Ren. Being on a different continent, away from your homeland - it instills a feeling of assimilation, and it will show in the fashion influences of the future should it go down that route. But, what will keep us prosperous is our unwavering pride for our culture, and the generation coming will keep it going for the years to come.

Penned at the hand of,

Li Xiahong

Li-Wen is vastly different from any existing languages on Almaris, borrowing greatly from the Hou-zi in its use of characters and pronunciation, often very difficult for those unfamiliar to pick up.  Words are often made of a combination of up to three syllables in phonetics, with five different inflections. Li-Wen is tonal; tones must be correct in order to convey the correct meaning, which makes it more challenging to learn. One mispronunciation of an inflection can result in calling your mother a horse. It is heavily context-laden and lacks preposition, requiring knowledge of background information before full understanding of a conversation.

Basics

With any language, one has to start with the everyday basics the users use for daily life. These are words you'll hear constantly in Yong Ping, and phrases each Li-Ren is guaranteed to know.

Titles, Pronouns, & Family
 

Time

Numbers

Swears, Insults, & Extra Phrases

As for these words right here, I don't think these would be exchanged in teachings with anyone other than the Li-Ren. I'd think these as slang- so we would never teach these in our class, it's just said by or to other Li-Ren.

Naming Practices

What differentiates Li-Ren names from Oyashiman (Japanese) is that Li naming practices consist of a surname of a single syllable which comes before the given name of the person. The given name will then be either one or two syllables long, but never anymore than two. Each name a person is given will have two different characters coming together to create one meaning, and depending on the tone of the character, two names spelt the same can mean different things.

Introduction

To your average Highlander and Heartlander, the Li-ren clans are an enigma. With strange languages, modes of dress, mystic customs, and odd superstitions. It can be easy for an outsider to assume the peoples of the East are monolithic in culture. On the contrary, nowhere else in the world will you find as much diversity as in the celestial kingdoms of Li, Huinan and Zhouren. 

The theatre in which this diversity is most prominent is the world of cuisine. Li ren are the best cooks in the world. Infact, throughout the various dialects of the Li language, there are over one hundred adjectives that can be used to describe the preparation of food (炒、煮、炸、烤 to name a few). Different regions of the Li world boast different specialty food. Let us now engage in a culinary tour of the far east.

Southern Cuisine / Zhuhai Can / 珠海餐

Central Cuisine / Heshan Can / 河山餐 

Northern Cuisine / Huinan Can / 輝南餐

Western Cuisine / Zhou Can / 周餐

Culinary Cultural Traditions