Tag Archives: Ancient

Rebirth revisited — Ukrainian Eggs and Ancient Eggs

In response to my post about the spring and how I choose to experience the season of rebirth, one of our company artists, Laura Metzinger, sent in this post:

From Laura:  I had long been interested in learning how to do the traditional Ukrainian (pysanky) wax-resist method of egg decorating and my library offered a workshop in 1990. I left with enough of the basics to continue to explore it on my own, and discovered that supplies could be found in NYC at Surma, a little Ukrainian shop, est. 1918, on East 7th St. They have a wide selection of books and tools and are always more than happy to offer suggestions and advice. SURMA – The Ukrainian Shop

The samples of my work here include some traditional and original designs, and all were created between 1990 and 2000. While pysanky eggs are associated with Easter, the practice of decorating eggs pre-dates Christianity, and hearkens back to the celebration of seasonal changes.

kistka (tool for applying the wax) and beeswax cake, with an egg showing an original design of Laura's

The tool for applying wax to the eggs is called a kistka. Although there are sleek, electric versions available, I like to use the more primitive, copper wire wrapped tool. It’s used by heating the copper cone at the end of the tool in a candle flame, and then pushing the point into a cake of beeswax. The heat draws up the wax into the cone, and then is used to draw designs on the egg. I use a darkened beeswax, as it’s easier to see when applied to the white egg and lighter colors. It’s especially nice to be doing this in a group, as the candles burning and the pleasant smell of beeswax create a very special atmosphere.

The process calls for working the design colors going from light to dark. Anything that you want to be white must be drawn with wax first. The wax prevents those sections from taking on any subsequent colors. Working from light to dark, wax is applied and the egg is dipped into progressively darker shades. After the design is completed, the egg is held closely alongside the candle flame. This is the best part; as the wax melts and is wiped off, the brilliant colors come into view.

Eggs with Trypillion designs

I love the symbolic meanings given to the imagery, which vary according to the source. And the use of eggs as a symbol of rebirth is timeless. All the colors have specific meanings, as do the designs. Most obvious is the use of plant and animal images. Earlier meanings were associated with the seasons, farming and harvest. Later on, many of the images were associated with Christianity. I have incorporated designs from other cultures, such as Native American symbols, which are very close to the Eastern European designs. I’ve also done a number of Trypillion designs on brown eggs. The predominantly black & red swirling designs come from artifacts discovered in the Ukraine, and are believed to symbolize the female, from whom new life comes. There are a number of ways of approaching the design elements. There are repeating border designs, end-cap designs and pictures. Traditionally, the repeating border designs are stylized plant elements. I like to incorporate Native American wave symbols in my borders and end-cap designs.

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Thank you, Laura. With my perspective I can’t help but make a connection between this tradition of decorating eggs to the discovery of etched ostrich eggs from 60,000 years ago — some of the oldest objects yet to show the use of symbolism by early humans. From the online article in Science News: “The unusually large sample of 270 engraved eggshell fragments, mostly excavated over the past several years at Diepkloof Rock Shelter in South Africa, displays two standard design patterns…. Each pattern enjoyed its own heyday between approximately 65,000 and 55,000 years ago…. Researchers already knew that the Howiesons Poort culture, which engraved the eggshells, engaged in other symbolic practices, such as engraving designs into pieces of pigment, that were considered to have been crucial advances in human behavioral evolution. But the Diepkloof finds represent the first archaeological sample large enough to demonstrate that Stone Age people created design traditions, at least in their engravings.

See the article: http://news.discovery.com/archaeology/stone-age-eggshells.html?print=true and another  http://news.bbc.co.uk/2/hi/science/nature/8544332.stm

 

From the Beginning

celebration of the animals- facepainting 1992

We were our own first works of art. That is a profound way for a facepainter to view what he does: it was here from the very beginning. Anthropologists say that we humans painted and marked ourselves before we ever began to alter the world around us.

Transforming ourselves is a fundamental human art. We take control of ourselves, we differentiate ourselves from being merely animals, when we mark ourselves. We prove that we are aware of our place in the world and that we can affect it when we transform ourselves. It is part of being human.

Face and body art is a universal art. Every culture uses makeup, body art, masks or costumes to change human appearance.  The reasons for the transformations in different cultures are as varied as the images they create. In traditional cultures, tattoo and scarification can mark an individual’s place in their society and their accomplishments. They can signify a change in status such as an initiation completed or a marriage. Face and body painting are more transient and can convey a wide range of meanings, from ritual and celebratory to the purely aesthetic. Facepainting can disguise the wearer and allow an individual to create a new identity. Theatrical makeup and masks allow a performer to become anything, even living gods that bring a mythical world to life in a physical form. In tribal rituals gods and spirits are also brought to life by masked dancers so bizarrely disguised they are unrecognizable as human. The possibilities for transformation are as limitless as the human imagination.

This is the way I approach a face when I paint it. I can do anything. The person I paint can become anything. There is an endless wealth of imagery from thousands of years of human history. There are the thousands of faces I have painted through my own history. And there is the face before me. Each face is very new and very old.

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