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The Seaglass Marvels of Aegrothond


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The Seaglass Marvels of Aegrothond

 Greater and Lesser Renarias 

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Many distinct cultures upon the Continent maintain traditions of craft which exist solely for the purposes of aesthetic beauty, and the realms of Aegrothond are no exception. While the crafty among the Houses of the Elder Blood may be known primarily for their skill with the smith’s hammer, and in the realms of metallurgy and gemcraft, the greater collective has developed an art which is far less utilitarian in nature, and pleases the eye with its colourful fashions. This art is known as the Mode of Renarion, or renarias in common parlance, after the elf who first promoted its use and caused it to become a mainstay in the cultural fabric of the Elves who dwelt in Aegrothond.

 

 In those early days, the seafaring Houses came into common contact with the vibrant stones made smooth by the rolling of the interminable Sea- and it was not long before the aforementioned master of stonecraft began to fit them into various craftworks of his own hand. The decoration of weaponry and other personal effects came first- but ere long it became common for the Households of Aegrothond to inlay their door-frames with intricate designs of seastone and shells which told tales of the Great Sea and the deeds of their forebears.

 

It would be many years before these miniature artworks began to spread into the realm of what a modern observer would consider a “true” mosaic, and due to the difficulty of transportation very few have survived from those elder days. The first among them were placed around oblique menhir, standing-stones which lend themselves poorly to ship travel. In more modern days, the larger mosaics are generally placed upon a flat surface and framed with traditional stonework and carving.

 

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Lesser Renarias- The Art of a Seaward People

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Despite their somewhat diminishing name, “Lesser Renarias” are far more diverse than their “Greater” cousin, and a far larger body of the former exist in the modern time due to their smaller size. In most simple terms, the phrase refers to the practice of fitting small seastones into designs upon weapons, jewelry, furniture, door-frames, and standing structures of importance. Sometimes, these designs are as simple as three stones in a line- but the more extensive among them tend to depict stories and moral fables derived from history. The practice of door-frame renarias are particularly common, with most family homes possessing these stony artworks across and around their central portals- it is believed that such a practice was originally intended to ward off evil sea-borne spirits, but in modern days it is more directly a representation of familial pride.

 

Though the process of creating such designs is varied, the basic methods centrally involve an adhesive agent derived from beeswax. This agent is applied to the carved sockets of the stones, alongside a powder of seashells- together, these components ensure that the stones will not come loose in time. Of course, inlays which need to withstand greater torsion forces and wear will commonly instead be applied with smithing techniques- a fine example of this is the sword-hilts crafted in the Forges of Aegrothond, which are usually inlaid with crimson and golden stones.

 

A common decoration employing renarias in modern days is the depiction of spirits of the ocean, who are myriad and go by many names. These minor deities, and others of a similar nature, are atimes conflated into the realm of the Sea Goddess, who is a religious staple of the Almenodrim. An eldritch figure, she wields a mighty trident capable of calling down thunder and a driftwood crown which allows her to control the Sea itself. While her religion has been lost to time in large part, his influence remains.

 

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Greater Renarias- The Mosaics of Aegrothond

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By far the most famous and acclaimed version of the renarias tradition are the vast mosaics compiled by the citizens of Aegrothond in order to depict the great events and historical deeds accomplished by those that dwell within the bounds of the realm of the Free Elves. Without exception these marvels take several months to complete, and as a result they hold a very special place in the society of the free Principality- and most Elves of Aegrothond who have any skill with craftwork tend to attempt at least one in their lifetime.

Some grand examples at the current capital, Caras Sylvadrim, are as follows:


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Edrahil and the Dragon

Depicting the epic combat of Edrahil against the Dragon Ankar, who preyed on the Folk of the Mountains and the Wood in Aegnor’s day. This mosaic was created by Lord Cullas Sylvaeri, inspired by the then-recently discovered third part of the Lay of Aegrothond. It employs red granite stones along with some sandstone and silica fragments, which create the illusion of flame from the dragon’s maw. It is located in the library of Maehr’evar.

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Illynora Sylvaeri

Depicting the legendary healing abilities of the first Princess of Aegrothond in the modern day, Lady Illynora Sylvaeri. The mosaic was also created by Lord Cullas Sylvaeri, to honour the passing of the great healer and to ensure her likeness would inspire others to continue along her path. It is crafted from petty-jade stones and malachite, as well as shale. It is located in the Houses of Healing, in Aegrothond.

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Sylvaen the Everflame

Depicting the forefather of the House Sylvaeri and the first leader of the Almenodrim, who is featured prominently in the beginning chapters of the Lay of Aegrothond. This mosaic was created by Prince Belestram Sylvaeri in the early days of Arcas, but lost until Cullas performed a curation of all of the mosaics and restored it. It is crafted of granite, sandstone, obsidian, gold and red silica, and is located in the upper portions of Aegrothond which are often shut to travelers.

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A Mural of Kaer’s Fleet

Depicting the seafaring ships of Kaer, forefather of the Kaeronin House and descendant of Aearon who was a son of Malin. The mosaic was created by Feanor Kaeronin to honour the ancestor and to try his hand at the creation of one of these marvels, at which he of course succeeded. It is made of various stones, primarily chert and shale, and is located near the upper portions of Aegrothond.

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Hamatsa, Spirit of Mercy

Depicting the mani-god Hamatsa, which is highly regarded among the Almenodrim and considered a guardian of sailors and shipwrights. The mosaic was created by Illynora Sylvaeri, when Aegrothond was first settled, and was wrought of blue seaglass and basalt fragments. It is located outside the citadel, in a small eastward-facing crevasse.

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The Battle of the Gorge

Depicting three comrades in defense of Aegrothond- Cullas, Azdal, and Jorvin- in their fight against a demonic tiger. This mosaic depicts a rather recent event, which occurred in Arcas during the early reign of Feanor I Flameborne. Crafted by Cullas Sylvaeri, it is located near the storehouses, behind the Inn.

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[To Be Added To]


 

 

 

 


Credit for the images goes to VoidalRemnant. Thank you!
 

 

 

 

Edited by Fid
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