Tied Up, 1940, by Tadeusz Styka
he wasn't even looking at me and he found me
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PUT YOUR BEARD IN MY MOUTH

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Tied Up, 1940, by Tadeusz Styka
butterfly creature
quit laying solitary eggs with penniless dregs and come lay healthy clutches with a wealthy duchess
Artistic Makeup
mado no ie - muji
The old pasture gate at work is absolutely thriving with various species of lichen
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The designs of the Nuristani style of woodwork are socially symbolic, usually concerning the ownersâ bravery or ability to feed others. The motifs would be carved onto door frames, chairs, and the pillars inside and outside their housesâ main room (ÄmÄ). Once again there were social restrictions determining who could have the motifs on their houses. The âBariâ were certainly forbidden from employing their talent on their own humble abodes (these would be situated further down the valley and thus in the frontline of any outsidersâ attack.)
1. An interesting example of a particular motif is the âYoshzhanla ba keereâ, âYoshzhanlaâ being a person who kills demons. The number of spokes emanating from the central circle corresponds to the number of Nuristanâs enemies the owner has killed. The outer circle represents the Nuristan territory. The four, compass like points refer to a giant, who the Nuristani people pre-Islam believed had four ears. Therefore, someone who included this motif in the design of, for instance, their hearth pillar was deemed able to protect his people from giants and enemies.
2 and 3. In addition to praising their fellow citizens for killing human enemies, Nuristani people also bestowed honour upon those adept at hunting. The best hunters would have a figurative depiction of a male goatâs head carved onto their doors (sookheng). The symbolism was enhanced by the addition of lines and small circles on the goatsâ horns. The lines corresponded to the number of ibex killed; the circles the number of tigers.
4. Symbols denoting prowess at hunting and killing were often combined with those of feast-giving, a very important social duty of wealthier Nuristanis. The âPanongâ symbol shows, from the peripherally-situated triangles, that ceremonial feasts were given by the family figure not only to the local village but also to people from other Nuristan communities. Like other symbols it was carved on doors and pillars of the family home. In addition it could be weaved into the family membersâ clothing, particularly the boys and girls, coloured in blue and red.
By Anthony Graves & Hamid Hemmat
fr. âSnowshoe to Otter Creekâ by Stacie Cassarino