#traditional craft

[ruthscraftroomuk]

[fyeahtimwalker]

The Muxes of Mexico by Tim Walker for Vogue Mexico and Vogue UK, December 2019

Production by Kate Phelan.

[aworldofpattern]

Lily Gladstone at the 2024 Oscars, wearing custom gown, a collaboration between Gucci's Creative Director, Sabato De Sarno, and Joe Big Mountain (Ironhorse Quillwork), a Mohawk, Cree, and Comanche artist renowned for his quillwork jewellery.

Styled by Jason Rembert.

Vogue: “It’s Not Just Mine”: Lily Gladstone on Her Historic Oscars Nod and Powerful Red Carpet Look

[ezekiellsplayground]

WIP of the blackwork square design. It’s beginning to look so striking as all the elements come together.

[fethemsoire]

So I've never done any weaving before, but my brain said no weekend, only crios weaving. So I went and bought a bunch of yarn and tried like 3 different methods before I went and made a heddle and shuttle out of some thick-ass scrap leather, and now I have a crios! It's pretty uneven and not big enough to actually fit me, but I'm proud of how it turned out and now I know I can do it!

Ignore the mess, the ADHD also said no clean, only weave.

The main video I learned from: https://youtu.be/kkFHLT-RbJ4?si=-sXxONSp0DHeCVmp

The video/creator that originally made me want to try it: https://youtu.be/yIqYBh49-dk?si=Lz8N4ZUUl9MZNKss

[musingmelsuinesmelancholy]

Some things I’ve been thinking about. At times being an American trad witch is incredibly frustrating and at others it’s absolutely exhilarating, rewarding. Reconnecting with my ancestral ( primarily french and scottish ) lore, magical practices, witchcraft etc has and will continue to inform my practice but I’ll never be a “french” witch. I’ll never be a “scottish” witch. I can find a lone hawthorn or a sacred tree guarding a hidden spring to tie the cloutie to, I can divine via a snail’s mucus trail, Fly to the Sabbath to meet The Abbess, heed the Dame Blanches, pluck the golden bloom with songs to St Columba, safeguard me and mine via silver, spring water and juniper. Yet there’s many things I’ll never know or be able to do. Whether that’s because these things are so tied to the land or a specific place, language barriers, ( working to overcome this one ) or due to the ( well warranted) gate keeping of lore and practices.

This used to be a source of great confusion for me. I think because I was afraid( due to my previous new age fuckwittery ) to experiment, do anything other than what I understood as “traditional”. My understanding being too rigid at the time; the pendulum swung from one end of the spectrum to the other. This delayed my progress and “froze” me. I was left wondering what an “American” trad craft would look like; most our books do come from a European POV. Learning of our own magical traditions as well as those of my Canadian family ( still working on that one haha ) helped. Reading Robin Kimmere helped. Reading Schulke, him being an American and writing on American plants, helped too. I’ve come to know Sugar Maple and Plantain as powerful spirits. Both teaching important lessons on how to rectify my ancestors mistakes, to foster relations with the First Peoples and how to incorporate the magic of this land into my craft. Rather than being frustrated by my being American I see it as a challenge now. I get to explore spirits, plants, places, animals, spiritual/physical ecologies ( is even really a difference between these?) completely unknown to my ancestors. I get to reconcile the old and the new. To learn from Spirit Direct. Tradition isn’t the worship of ashes, it’s the preservation of Fire. New wood must be added to keep The Fire burning. The Devil of this land certainly is a spirit of the unknown.

I am the land, the land is me.

I don’t own it, to it I owe all.

To it my body will return, the tithe paid.

I’m not rolling hills of heather, white chalk cliffs, the monk’s island nor the azure coast. The memories of these places echo distantly in my blood, sung alive by my ancestors shades. Part of me they’ll always be; yet it’s not who I am. Not what I am.

I’m craggy shores, dull-jade waves bearing down upon the tired rocks. I am musky pine forests veiled in mist. Sun-venerating oaks hugging the shoreline. Bleeding alders in damp ground swelling. Proud maples sustaining generation upon generation with their boiled blood. Death-grey clay, exposed by running spring.

I am the kudzu, the itching moth, the knotweed, the Norway maple, the ivy wrecking havoc upon the land. My surname and light skin proof of a genocide ongoing. I am my ancestors sins; the specter of the Old Growth forests, their grief hanging over the land like a fog. Every interaction with The Land tinged with sadness, loss.

I am my maternal side’s copper curls. Melusine’s pride. Ave Landry! Ave Gauthier! Forebears mine.

I am my paternal side’s grief. The end result of decades of cultural warfare. The Jesuits stole our name….my hair will not be cut.

Never will I libate these glacier carved valleys with booze.

I am the plantain, learning a kinder way. The sumac reclaiming the orchard.

My Februarys, my Marches aren’t snow drops and daffodils peaking through the frozen ground. They’re steely skies and walls of sleet. Bloodroot heralds winters wane; not Brigid’s flower.

My June isn’t fields of poppies, it’s seas of crimson staghorn blooms skyward reaching.

My augusts aren’t golden shafts of wheat, swaying in summer’s last breaths; they’re explosions of neon-violet and honey-yellow. Corn ripening on the vine, supporting the climbing bean. The cicadas song reverberating.

Old Michaelmas marks harvest’s end, October potatoes long buried in soils darkness finally exhumed. The Devil his Rosy Briar to ascend and plunge.

With Novembers first snows the Dead come in.

I’ll never process around a standing stone nor know what it is to live and eat off the land my dead lay in. Finally, I’m learning to be at peace with this. To love and know the land I live on. I’ll always be a stranger here, a guest. I hope to be a good one.

[lucidsdog]

small pop up card project / first ever attempt!

[monstersandmaw]

Spirals of Oak

(C) do not use, edit, reupload

[bunad]

Rose-Painted Cupboard

Cupboard from 1825 in Hjartdal, Norway. Painted in the traditional Norwegian "Rosemaling" technique.

Photo: Telemark Museum

[moznohayanie]

金沢。教え子の超絶過ぎる螺鈿作品を見るたび溜息が出ます。螺鈿は貝殻を薄くシート状に加工した物を貼り込んでいく技なのですが、細かさが写真からはどうしても伝えられない。現物見て唸って欲しい。現代美術で漆芸作家はそれほど多くない印象ですがこういう工芸技でのアプローチもっと見てみたい。

めっちゃカッコイイ螺鈿（らでん）！ 印伝とかでも感じるんだけど、日本の伝統工芸はこういう現代的な作品があれば市場は世界なのに。修行は大変だと思うけど、ライバルは少ないぞw

[elvthron]

• 𝕭𝖑𝖆𝖈𝖐 𝕳𝖊𝖓𝖇𝖆𝖓𝖊 •

Hyoscyamus Niger, is another botanical ally of witches, sciamans, diviners since ancient times.

• The human relationship with this plant is at least 8000 years old: the most ancient findings of an undetermined specie of henbane's seeds were from a Neolithic site in Farafra, Egypt, dated VII to VI millennium b.c.

• In Greek mythology it is said that the dead in Hades were crowned with Henbane, as they wandered beside the River Styx which separated them from the land of the living.

• Due to the high concentration of psychoactive substances, the plant was used to induce visions, for divinatory purposes and for spirit flight, especially if mixed with other baneful plants linked to Sorcery.

- Toro Gianluca(2005): Sotto tutte le brume, sopra tutti i rovi. Stregoneria e farmacologia degli unguenti.

- Fahmy AG-E (2001): Palaeoethnobotanical studies of the Neolithic settlement in Hidden Valley, Farafra Oasis, Egypt.

- pictures are mine.

[emmaklee]

fish kite

[ezekiellsplayground]

I got super annoyed at how I kept putting this project off, so I finally just cleared time to sit & start stitching.

[pizzathefox]

Checkered Pizza

Since I pretty much decorate everything I own, I decided to make a cover for an old bucket for my markers. Right image is hand cut out and drawn while the left image is the digital edit.

[musingmelsuinesmelancholy]

Motivated by a mutual, here’s an ask game!

1 What do you practice?

2 Does a particular faith inform your craft, or alternatively, if your faith and magic are separate- why is this distinction between the two important to you?

3 What paradigm or philosophy do you adhere to?

4 What culture(s) is your magic rooted in?

5 For my dual faith folks, do you practice a historically attested syncretism or one of your own creation?

6 How easy or difficult has it been for you to hold to a dual faith observance?

7 What are some of your favorite tools?

8 What are some of your favorite books, or books you would recommend to a novice?

9 What’s something you wish more people understood about the craft?

10 What’s something you’re tired of explaining to people?

11 How would you define witchcraft?

12 Your favorite things about the occult community? Whether it’s your local community, if you’re lucky enough to have one, an online community or whatever!

13 Least favorite things about the community?

14 Go to herbal allies?

15 What’s something you feel is often overlooked?

16 Books in general you recommend or are interested in?

17 go to animal allies?

18 go to mineral allies?

19 most unorthodox thing you’ve utilized in magic?

20 what’s something you’re currently interested in and/or learning about?

[fashionbooksmilano]

Katachi

Classic Japanese Design

Paper, Wood, Bamboo, Fiber, Clay, Metal, Stone

Takeji Iwamiya,  Kazuya Takaoka

Chronicle Books, 2000, 398 pages , 15,50 x 22,86 cm, ISBN 0780811825474

euro 30,00

email if you want to buy :booksinprogressmilano@yahoo.it

Untranslatable, the word katachi signifies the essence of Japanese design, the form, symmetry, and workmanship of traditional craft. Embodying the marriage of beauty and functionality that is the key to the Japanese aesthetic, the objects presented in Katachi are made of materials that have played an important role in Japanese life for centuries: wood, bamboo, stone, fiber, metal, earth. The photographs, in black-and-white and color, showcase pieces ranging from exquisite geometric stone carvings and architecturally elegant shoji screens to such humble yet perfectly conceived objects as combs, sandals, rakes, and teapots. Twenty years in the making, photographer Takeji Iwamiya's masterwork is a lovingly rendered tribute to these objects and the culture they sprang from. Japanese concepts of shape and form have been a major influence on contemporary design throughout the world, and this eloquent collection will appeal to designers as much as to connoisseurs of Japanese art and culture.

16/11/22

orders to:     booksinprogressmilano@yahoo.it

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