Mu Xiao (mù hsiao)
Ki Yosei, Gỗ tiên (elvish) - Wood Elves
The wood elves have lived in the massive forests known as Qing Long's Sea from time immemorial. Originally descended from the spirits of those self-same trees, they have learned to shape this seemingly endless natural bounty to their needs. To live alongside and within the natural world from which they sprung. They are creatures of the Yang Principle, and therefore their passions always rest just beneath the cool exterior of their surface. This very nature is what led to the tragedy known as the War of Nine Tidings, or the War of Tears. Their passions, combined with their long live and equally long memories, drew the other elven races into their blood feuds and vendetta wars and nearly wound up destroying the elven species before the world was even completely formed.
Thus, their strict, and rigid, code of conduct, manners, and customs was put into place as a preventative measure to keep another such occurrence from ever happening again. The mu xiao ride on ceremony, tradition, and a system of civility towards their own and others that at times can be incredibly confusing for outsiders to navigate. Especially the more straightforward races. As an example, it is considered the height of rudeness to ask any sort of direct, personal questions of another, especially if that person is a stranger. Therefore, even so simple and innocuous an inquiry as to how someone is doing is generally met with a cold gaze and stony silence. The proper way to ask would be to indirectly inquire about the household, and thus invite the wood elf to divulge the information of his own, personal, well-being.
While this method of seemingly pointless small-talk and talking around of issues may confuse and aggravate outsiders who consider these small niceties a waste of time, the wood elves have learned that a bit of wasted time is much preferable to a wasted life.
That said, once a Bamboo elf considers another individual a friend their aloof quality seems to all but vanish. Their inner Yang nature appears and asserts itself and they become warm, open and friendly, and treat even non-elven friends as though they were family.
Thus, their strict, and rigid, code of conduct, manners, and customs was put into place as a preventative measure to keep another such occurrence from ever happening again. The mu xiao ride on ceremony, tradition, and a system of civility towards their own and others that at times can be incredibly confusing for outsiders to navigate. Especially the more straightforward races. As an example, it is considered the height of rudeness to ask any sort of direct, personal questions of another, especially if that person is a stranger. Therefore, even so simple and innocuous an inquiry as to how someone is doing is generally met with a cold gaze and stony silence. The proper way to ask would be to indirectly inquire about the household, and thus invite the wood elf to divulge the information of his own, personal, well-being.
While this method of seemingly pointless small-talk and talking around of issues may confuse and aggravate outsiders who consider these small niceties a waste of time, the wood elves have learned that a bit of wasted time is much preferable to a wasted life.
That said, once a Bamboo elf considers another individual a friend their aloof quality seems to all but vanish. Their inner Yang nature appears and asserts itself and they become warm, open and friendly, and treat even non-elven friends as though they were family.
Naming Traditions
Feminine names
Bian, Bich, Cam, Chau, Cuc, Hang, Hoa, Linh, Mai, Nguyet
Masculine names
Hien, Hung, Chih, Danh, Duc, Duong, Phuc, Quang, Thao, Trang
Unisex names
Binh, Hanh, Hau, Lanh, Long, Ngoc, Nhung, Vinh, Truc, Xuan
Family names
Lieu, Le, Dang, Bui, An, Banh, Tien, Ngo, Ho, Tran, Phuong, Su
Culture
Major language groups and dialects
Xiaoyu, which is, itself, a dialect of the spiritual tongue of Kuoyu.
Culture and cultural heritage
Wood elves share the same spiritual connection with the natural world as the rest of their spirit-descended elven cousins. With their ancestors being the spirits of trees and plants, they acknowledge the reality of the spirits which exist within the trees, plants, and other living beings. Like peoples across the empire, animism is a central tenet of their religious and cultural heritage. While Okuninushi is the primary amatsukami worshiped by the wood elves, many more of their shrines and temples are dedicated to the gods and spirits of the lands around them.
The elves' primary reason for being in the world was the stewardship of the wild places. Those places which were particularly, spiritually, resonant, with their own Dragon Springs and Dragon Pools running through them. Temples are often build around these spiritual pools with cities growing out from them. Showcasing the continued, cultural impact of their ancient duties from before many of the races walked the earth.
One, key different between the mu xiao and the rest of the elven peoples is their adherence to a strict code of conduct, manners, and social customs which govern every, and all, of their interactions with others. Their way of talking around, especially delicate or personal, topics, the intricate forms of address and bowing etiquette, all play significant roles in their cultural identity.
The wood elves' artistic heritage places a heavy emphasis on the natural world and has long-since spread itself into the traditional aesthetics of the other races. Primarily during the Age of the Bushi, their ink wash, calligraphy styles, poetry, and style of painting worked its way into the human cultural sphere and became the appropriate way of doing things. Though, wood elves are not considered the masters of sericulture that their fox elf cousins are, their embroidery is generally considered to be second-to-none, being highly prized for its composition and delicate artistry.
The traditional festivals and rituals of the mu xiao tend to focus on the seasons and their endless turning. Major festivals are held at the turning points of each season. These typically involve major pilgrimages to the Five Seasonal Shrines dedicated to the Five Spirit Courts and those who rule over the five seasons of the imperial calendar.
The elves' primary reason for being in the world was the stewardship of the wild places. Those places which were particularly, spiritually, resonant, with their own Dragon Springs and Dragon Pools running through them. Temples are often build around these spiritual pools with cities growing out from them. Showcasing the continued, cultural impact of their ancient duties from before many of the races walked the earth.
One, key different between the mu xiao and the rest of the elven peoples is their adherence to a strict code of conduct, manners, and social customs which govern every, and all, of their interactions with others. Their way of talking around, especially delicate or personal, topics, the intricate forms of address and bowing etiquette, all play significant roles in their cultural identity.
The wood elves' artistic heritage places a heavy emphasis on the natural world and has long-since spread itself into the traditional aesthetics of the other races. Primarily during the Age of the Bushi, their ink wash, calligraphy styles, poetry, and style of painting worked its way into the human cultural sphere and became the appropriate way of doing things. Though, wood elves are not considered the masters of sericulture that their fox elf cousins are, their embroidery is generally considered to be second-to-none, being highly prized for its composition and delicate artistry.
The traditional festivals and rituals of the mu xiao tend to focus on the seasons and their endless turning. Major festivals are held at the turning points of each season. These typically involve major pilgrimages to the Five Seasonal Shrines dedicated to the Five Spirit Courts and those who rule over the five seasons of the imperial calendar.
Shared customary codes and values
Even more so than the other races, Face is the defining value of the wood elves' entire social structure. Face informs their self-worth, their social status, and the deeply intricate system of social etiquette that they practice until it comes as easily as drawing breath.
As well, family is the foundation upon which wood elf society sits. Though not necessarily for the same reasons as other races. Within wood elf society, family and close friends are the only people with whom they can truly be themselves. In public, in order to keep from offending others, wood elves adopt a mask of propriety and emotionless calm. They can allow nothing to break this mask. To do otherwise would be to lose Face. With those she trusts, however, the mask can be slipped off, and she can be allowed to vent her emotions in a place of warmth and understanding.
Above all else, wood elves value natural spaces. Forests, in particular. They were once the spirits of trees and plants, and this very nature draws them to protect and nurture the natural spaces around them. Purposefully bringing harm to a living plant, therefore, is anathema to them. If anything can break the outward calm of a wood elf's demeanor, it is the wanton destruction of a natural area, and is likely to bring an answer, in kind.
As well, family is the foundation upon which wood elf society sits. Though not necessarily for the same reasons as other races. Within wood elf society, family and close friends are the only people with whom they can truly be themselves. In public, in order to keep from offending others, wood elves adopt a mask of propriety and emotionless calm. They can allow nothing to break this mask. To do otherwise would be to lose Face. With those she trusts, however, the mask can be slipped off, and she can be allowed to vent her emotions in a place of warmth and understanding.
Above all else, wood elves value natural spaces. Forests, in particular. They were once the spirits of trees and plants, and this very nature draws them to protect and nurture the natural spaces around them. Purposefully bringing harm to a living plant, therefore, is anathema to them. If anything can break the outward calm of a wood elf's demeanor, it is the wanton destruction of a natural area, and is likely to bring an answer, in kind.
Common Etiquette rules
Like much of the rest of the empire, regardless of individual race or ethnic group, respect and politeness are the hallmarks of wood elves' common etiquette. The backbone of this politeness is the use of courteous language and the appropriate honorifics when speaking to others. Especially strangers. The specific honorifics follow the same ones as the rest of the xiaoren language used by the other elven ethnicities. Honorifics come before the name or title of the subject being addressed:
The bowing etiquette within wood elf society is as rigid and structured as the rest of their society. Failure to perform the right type of bow, in the correct context, is often considered to be an offense. Therefore, the art of bowing is ingrained into every wood elf child from the time they're old enough to walk so that knowing the appropriate way of bowing in any social situation becomes as natural to them as breathing. The type of bow and the degree to which one bows is dependent upon the situation and the status of the individual one is bowing to. Overall, there are two major categories of bowing. They are: Cúi khi quỳ gối (Bowing while kneeling) and Cúi khi đứng (Bowing while standing). The type of bow used depends entirely upon social setting. In more informal settings, a standing bow is most often used, whereas in formal settings, the sitting bow is most often put to use.
Like most peoples of the empire, wood elves bow when greeting each other. Whether stranger or friend. The bow is usually brief and slight at 15 degrees. For a friend, it is usually a simple inclination of the head. Whereas, for a stranger, it is a more formal bow from the waist. This bow is usually accompanied by a standard greeting such as a "Hello," or "Nice to meet you." This bow is called Gật đầu nhẹ.
The next type of bow is the most commonly used in social situations. Especially when interacting with someone of slightly higher social status. The body is inclined from the waist at about 30 degrees and the gaze is on the floor. This bow is also used to express gratitude for something, or to apologize for a small infraction. This bow is called Cúi chào.
The final bow is meant to show the utmost respect towards the other person. The person bowing bends forward at the waist at a steep 45 degree angle or more, depending upon the personage being bowed to. The gaze should, as above, rest firmly on the floor. The bow is used when greeting someone of significantly higher social status, expressing deep gratitude, asking for a favor, or showing deep sincerity for a large infraction. As such the bow should be held for an appropriate time to express one's deep feelings, whether respect, gratitude, or sorrow. This bow is called Cúi sâu.
With all standing bows, the hands should remain firmly at one's sides, with the eyes on the floor.
The sitting bows also have three different ways of bowing, also used in much the same way as the standing bows, and with the same, general, reasons. The first one, called Phong cách nhẹ nhàng, is used in primarily informal occasions, such as visiting the house of an acquaintance or stranger of equal social standing. The bow is from the waist at a slight 30 degrees, hands slid forward along the thighs, til the fingertips touch the ground.
The second sitting bow is called Phong cách thông thường and is the most commonly used seated bow in formal settings, or to show respect for someone of slightly higher station. The waist is bent until one is looking directly at the floor with hands placed flat on the ground before the face, fingertip touching, to form a triangle.
The third, and most formal seated bow, is the Quỳ gối. It has the same connotations as the Cúi sâu, above. The person bows forward until their chest is touching their knees, and their forehead is on the ground between the triangle made by their hands.
There is even a semi-formal bow to be used when presenting a gift or offering called the Tặng quà. The bow is usually fairly slight while presenting the gift with both hands. While the receiver bows just as deeply in gratitude and receives the gift with both hands.
Given their rigid society, and their incendiary past, the wood elves are acutely aware of the need to maintain a proper emotional and physical distance from others in society. Though the river elves don't see it as such, the wood elves have the same amount of healthy respect for the personal boundaries and freedoms of others. Whether it is in public, or even in a relatively relaxed social setting, the mu xiao attempt to leave an adequate amount of space existing between themselves and those around them. This is to avoid encroaching on anyone else's space and, thus, cause some sort of offence.
In much the same vein, the idea of mindful communication, always using the correct forms of speech, address, titles, and honorifics when speaking to others is yet another way of maintaining the other person's space, boundaries, and dignity. This isn't just another practice of maintaining Face to the wood elves, this is a way of giving face to the people around them by showing them proper respect. In the pursuit of this value, they are encouraged to actively listen, speak clearly and eloquently, and consider the impact their words may have before they actually begin speaking. In this way, harmony is maintained in society.
- Anh/Chị/Em: These terms are used to address individuals of a similar age or younger. "Anh" is used to address older males, "Chị" is used for older females, and "Em" is used for younger individuals of either gender.
- Ông/Bà: "Ông" is used to address an older man, while "Bà" is used to address an older woman. These terms are similar to "Mr." and "Mrs./Ms." in English.
- Cô/Dì: "Cô" is used to address a woman who is slightly older than the speaker but not old enough to be an aunt. "Dì" is used to address an aunt or a woman who is significantly older than the speaker.
- Chú/Bác: "Chú" is used to address an uncle or a man who is slightly older than the speaker but not old enough to be a grandfather. "Bác" is used to address an older man who is significantly older than the speaker.
- Thưa: "Thưa" is an honorific used to show respect when addressing someone of higher status, such as a teacher, an elder, or a person in authority. It is often used with their name or title, such as "Thưa thầy" (Dear teacher) or "Thưa ông/bà" (Dear sir/madam).
- Ông/Chị: "Ông" and "Chị" can be used as generic terms of respect for addressing an older man or an older woman, respectively, regardless of their specific relationship.
The bowing etiquette within wood elf society is as rigid and structured as the rest of their society. Failure to perform the right type of bow, in the correct context, is often considered to be an offense. Therefore, the art of bowing is ingrained into every wood elf child from the time they're old enough to walk so that knowing the appropriate way of bowing in any social situation becomes as natural to them as breathing. The type of bow and the degree to which one bows is dependent upon the situation and the status of the individual one is bowing to. Overall, there are two major categories of bowing. They are: Cúi khi quỳ gối (Bowing while kneeling) and Cúi khi đứng (Bowing while standing). The type of bow used depends entirely upon social setting. In more informal settings, a standing bow is most often used, whereas in formal settings, the sitting bow is most often put to use.
Like most peoples of the empire, wood elves bow when greeting each other. Whether stranger or friend. The bow is usually brief and slight at 15 degrees. For a friend, it is usually a simple inclination of the head. Whereas, for a stranger, it is a more formal bow from the waist. This bow is usually accompanied by a standard greeting such as a "Hello," or "Nice to meet you." This bow is called Gật đầu nhẹ.
The next type of bow is the most commonly used in social situations. Especially when interacting with someone of slightly higher social status. The body is inclined from the waist at about 30 degrees and the gaze is on the floor. This bow is also used to express gratitude for something, or to apologize for a small infraction. This bow is called Cúi chào.
The final bow is meant to show the utmost respect towards the other person. The person bowing bends forward at the waist at a steep 45 degree angle or more, depending upon the personage being bowed to. The gaze should, as above, rest firmly on the floor. The bow is used when greeting someone of significantly higher social status, expressing deep gratitude, asking for a favor, or showing deep sincerity for a large infraction. As such the bow should be held for an appropriate time to express one's deep feelings, whether respect, gratitude, or sorrow. This bow is called Cúi sâu.
With all standing bows, the hands should remain firmly at one's sides, with the eyes on the floor.
The sitting bows also have three different ways of bowing, also used in much the same way as the standing bows, and with the same, general, reasons. The first one, called Phong cách nhẹ nhàng, is used in primarily informal occasions, such as visiting the house of an acquaintance or stranger of equal social standing. The bow is from the waist at a slight 30 degrees, hands slid forward along the thighs, til the fingertips touch the ground.
The second sitting bow is called Phong cách thông thường and is the most commonly used seated bow in formal settings, or to show respect for someone of slightly higher station. The waist is bent until one is looking directly at the floor with hands placed flat on the ground before the face, fingertip touching, to form a triangle.
The third, and most formal seated bow, is the Quỳ gối. It has the same connotations as the Cúi sâu, above. The person bows forward until their chest is touching their knees, and their forehead is on the ground between the triangle made by their hands.
There is even a semi-formal bow to be used when presenting a gift or offering called the Tặng quà. The bow is usually fairly slight while presenting the gift with both hands. While the receiver bows just as deeply in gratitude and receives the gift with both hands.
Given their rigid society, and their incendiary past, the wood elves are acutely aware of the need to maintain a proper emotional and physical distance from others in society. Though the river elves don't see it as such, the wood elves have the same amount of healthy respect for the personal boundaries and freedoms of others. Whether it is in public, or even in a relatively relaxed social setting, the mu xiao attempt to leave an adequate amount of space existing between themselves and those around them. This is to avoid encroaching on anyone else's space and, thus, cause some sort of offence.
In much the same vein, the idea of mindful communication, always using the correct forms of speech, address, titles, and honorifics when speaking to others is yet another way of maintaining the other person's space, boundaries, and dignity. This isn't just another practice of maintaining Face to the wood elves, this is a way of giving face to the people around them by showing them proper respect. In the pursuit of this value, they are encouraged to actively listen, speak clearly and eloquently, and consider the impact their words may have before they actually begin speaking. In this way, harmony is maintained in society.
Common Dress code
The standard wood elf dress is as codified and rigid as their social make-up. In order to avoid inciting the passions of those around them, they tend to expose as little flesh as possible. Underclothing is usually a loincloth and a short, thigh-length under-robe. For women, this is accompanied by a broad strip of cloth, tied at the back. Underclothing is usually white, but can also be dyed blue, green, or red. All of which are considered symbolic of good fortune. Over this is another, full-length, robe dyed in a base color which is supposed to evoke the wearer's basic mood for the day. Over this is anywhere from one to four more robes, each of which is dyed in a color to compliment the one beneath it. The number of robes is dependent upon the wealth of the wearer and their social class. Those of a lower social class may have a complete outfit with just two robes, whereas those of a more sedentary rank have four. However, there are always at least three layers to any wood elf outfit. The outer robe is always the richest, and beautifully embroidered, and compliments both the season and the colors beneath. The color of the outer robe corresponds to the season, and follows: shades of blue or green for Wood, shades of red or orange for Fire, shades of yellow or brown for Earth, shades of grey or white for Metal, and shades of deep purple, blue, or black for Water. The type of material and the embroidery indicate the social rank of the wearer. The robes are cut and wrapped in such a way as to reveal the one beneath it in a succession of colorful layers. The sleeves of the robes are wide and billowy so as not to cling to the form beneath. Men's outfits may include a pair of wide trousers, akin to the hakama, in the same base color as the first robe.
When out and about in public setting out-of-doors, men and women are expected to veil their faces. Unattached men are expected to wear the mian. A tall, black hat with a flat, rectangular top allowing for the attachment of strings of beads to partially obscure the face. A hat appropriated by the Dragon Emperor for official and ritual functions. Due to the fact that a quick movement may set the beads to swaying and thus obscure the vision, it is meant to ensure that the wearer is keeping the correct posture and to think only "upright" thoughts.
Single women are expected to wear the mili. This is a broad-brimmed hat with a full-length veil which falls to the hips. The color of the veil is a light green. Married women, on the other hand, wear the weimao, with a veil of red. This is exactly like the mili, except that the length of the veil only falls to the shoulders.
The footwear of the mu xiao is nearly indistinguishable from that of the Dàyáng humans.
When out and about in public setting out-of-doors, men and women are expected to veil their faces. Unattached men are expected to wear the mian. A tall, black hat with a flat, rectangular top allowing for the attachment of strings of beads to partially obscure the face. A hat appropriated by the Dragon Emperor for official and ritual functions. Due to the fact that a quick movement may set the beads to swaying and thus obscure the vision, it is meant to ensure that the wearer is keeping the correct posture and to think only "upright" thoughts.
Single women are expected to wear the mili. This is a broad-brimmed hat with a full-length veil which falls to the hips. The color of the veil is a light green. Married women, on the other hand, wear the weimao, with a veil of red. This is exactly like the mili, except that the length of the veil only falls to the shoulders.
The footwear of the mu xiao is nearly indistinguishable from that of the Dàyáng humans.
Art & Architecture
The key to most elven architecture, but especially the wood elves', is the blending of natural elements with the nearly homogenous architecture of the empire is organic integration and camouflaging it with the natural world. Ensuring that the architectural elements seamlessly blend with the their surroundings, as if the structure has grown naturally from the tree itself. The lines and forms of the wood elves' buildings seem to follow the natural contours of the trees and branches, being integrated smoothly without being forced or out of place.
Smoothly integrating harmonious materials such as reclaimed wood, bamboo, or even woven fibers to complement the tree's bark, foliage, and overall texture creates an illusion of depth and dimension to certain architectural features. Common architectural features such as the wadang, the tile at the end of each row of tiles on a standard imperial roof, are created using these techniques. At first appearing to blend in with the rest of the elven building, but upon closer inspection or slight shift in perspective, features such as the wadang seem to pop out of the wood in fine detail.
The most important aspect of wood elf architecture is their connection to the qi and the Wood Element of their natures and environment. Through these connections, they can train every part of the trees or plants, from branches, leaves, bark, or roots, to form the distinct rooflines, eaves, and curved lines reminiscent of imperial architecture. Though, much like all else, care and patience is required to achieve the desired effects. Due to these mystical techniques, they can cause their buildings to appear to have rounded corners, flowing curves, or other irregular patterns in order to mirror the natural world around them.
These same techniques are used to incorporate other traditional elements of imperial buildings. Smaller branches form ornate wooden screens and lattices to allow natural light and ventilation into their structures. Networks of larger roots coaxed to bulge slightly aboveground to form wood-tiled courtyards. Many times these extra elements are strengthened through magic to enhance their integrity and durability. In fact, magical enhancements are common throughout wood elf architecture to ensure the long-term health and stability of their living structures. The enchantments used strengthen the branches, protect against decay and disease, and otherwise enhance the structural integrity of elven architecture.
In order to further blur the boundaries between semi-artificial structure and the natural environment. They tend to incorporate climbing plants, flowering vines, or other living plants to intertwine with the rest of the structure. This tendency is integrated into the architectural features mentioned earlier where they are often woven into the small, architectural details to both blend with and add depth to artistic minutiae of the buildings.
Despite the spiritual proclivities of the Wood element to which they are aligned, mu xiao, themselves, still some aversion to fire. Particularly when it comes to big, open fires, or bringing flames into their quite vulnerable homes. Protective seals and charms are all well and good, but none of them are one-hundred percent and can still fail or degrade over time. Therefore, wood elves are loathe to bring actual fire into their dwellings for safety's sake and their own comfort. When light is needed in the deeper parts of their dwellings where it would be more difficult to use natural light, they tend to use witchlights for their illumination. Whether that's a small, handheld lamp made of artistically grown wood, or a lattice-work cage growing directly from a dwelling's walls, witchlights provide a majority of the wood elves' lighting. This, of course, only serves to further play up the ethereal, fey, nature of wood elf villages and cities.
Like the rest of the empire, the vast majority of the elves' structures revolve around what the Daiyang people call the siheyuan. This is the simple, courtyard house which can be found from one end of the empire to the other. This type of building ranges from a relatively straightforward home with three wings surrounding a courtyard for the simplest, lower-class designs to massive complexes with multiple courtyards, wings, and even gates, often with a large, ornate, frontage gate denoting the relative social class of the occupants. The main difference in construction between humans' homes and wood elves, is that the elves tend to build vertically rather than out horizontally. With each "courtyard" being multiple sections of a tree's trunk.
Within wood elf communities, the lower ranked people tend to live on the forest floors, among the trees' roots. While the upper classes tend to either live further up in the trees or even have entire trees to themselves with the aforementioned multiple-floored dwellings being relegated to themselves.
Another commonality that all elves seem to share, regardless of ethnic group, is the inclusion of large, natural-seeming gardens, both within their dwellings (often included within individual courtyards), and without. Very rarely are paths through an elven city actually at straight and at right angles. Paths tend to meander and follow the natural flow of the qi through the land, itself. This gives the elven cities or villages a very rough, slipshod, feel to most anyone not an elf. However, the elves, themselves, know that their cities, town, and villages, follow the very natural order of the world, itself.
Much of the art of the elves, whether wood, river, fox, or tanuki are inspired by the natural world around them. Even when working on pieces which involve legendary figures or even city- or village-scapes, the pieces will invariably heavily feature the natural world. Which is...only natural. Considering that most of the elven cities, themselves, tend to resemble the natural world more often than not.
Calligraphy and ink painting have a very long relationship within the empire. Originally being inspired by the elves, themselves. In these instances, it's not just the elves which draw heavily from nature when creating calligraphic ink paintings, all other races who partake in this, particular, artform have codified both the structures of the poetry and calligraphy used and the composition of the paintings, themselves, within hard rules where the individual painter is more lauded for their ability to follow tradition, than for any spontaneous creativity they might exhibit. This artform was, of course, inspired by none other than the wood elves, themselves.
Wooden sculpture tends to be the most spontaneous of the individual works created by the mu xiao. Often, the only strictures to be placed upon any sort of wood sculpture will be that it cannot be made from the living heartwood of any tree. Though, there is a certain movement coming to the fore amongst some of the master sculptors, supposedly inspired by the Harmonious Earths of the kobito clans, where one must create a single sculpture of five, different types of woods, all freely given by the trees or reclaimed, of course. It's also said that there's a master who lives closer to the Tianhe who uses driftwood found along the river's banks for his sculptures.
Musically, the mu xiao tend to favor those instruments made from wood. Much of their music tends to try to recreate the sounds of their own forests the way they hear them: in perfect harmony. The sound of the wind softly stirring the leaves of a tree played on a guzheng, the trilling of birds on a bamboo flute or wooden ocarina, their music strives to capture the sounds they so love in their humble instruments.
Going right along with their music, their dance attempts to capture the exact, same feeling within the graceful motions of their bodies. From a branch swaying in the wind, to the graceful leaps of a deer or a squirrel leaping from branch to branch.
Elven silks are prized throughout the empire for their strength, lightweight, almost diaphanous, qualities and the beauty of its embroidery. One of the most prized, surprisingly enough, being the fox elves' own sericulture textiles. Of course, not to be outdone by their skulking cousins, the wood elves embroideries are said to be second-to-none.
Smoothly integrating harmonious materials such as reclaimed wood, bamboo, or even woven fibers to complement the tree's bark, foliage, and overall texture creates an illusion of depth and dimension to certain architectural features. Common architectural features such as the wadang, the tile at the end of each row of tiles on a standard imperial roof, are created using these techniques. At first appearing to blend in with the rest of the elven building, but upon closer inspection or slight shift in perspective, features such as the wadang seem to pop out of the wood in fine detail.
The most important aspect of wood elf architecture is their connection to the qi and the Wood Element of their natures and environment. Through these connections, they can train every part of the trees or plants, from branches, leaves, bark, or roots, to form the distinct rooflines, eaves, and curved lines reminiscent of imperial architecture. Though, much like all else, care and patience is required to achieve the desired effects. Due to these mystical techniques, they can cause their buildings to appear to have rounded corners, flowing curves, or other irregular patterns in order to mirror the natural world around them.
These same techniques are used to incorporate other traditional elements of imperial buildings. Smaller branches form ornate wooden screens and lattices to allow natural light and ventilation into their structures. Networks of larger roots coaxed to bulge slightly aboveground to form wood-tiled courtyards. Many times these extra elements are strengthened through magic to enhance their integrity and durability. In fact, magical enhancements are common throughout wood elf architecture to ensure the long-term health and stability of their living structures. The enchantments used strengthen the branches, protect against decay and disease, and otherwise enhance the structural integrity of elven architecture.
In order to further blur the boundaries between semi-artificial structure and the natural environment. They tend to incorporate climbing plants, flowering vines, or other living plants to intertwine with the rest of the structure. This tendency is integrated into the architectural features mentioned earlier where they are often woven into the small, architectural details to both blend with and add depth to artistic minutiae of the buildings.
Despite the spiritual proclivities of the Wood element to which they are aligned, mu xiao, themselves, still some aversion to fire. Particularly when it comes to big, open fires, or bringing flames into their quite vulnerable homes. Protective seals and charms are all well and good, but none of them are one-hundred percent and can still fail or degrade over time. Therefore, wood elves are loathe to bring actual fire into their dwellings for safety's sake and their own comfort. When light is needed in the deeper parts of their dwellings where it would be more difficult to use natural light, they tend to use witchlights for their illumination. Whether that's a small, handheld lamp made of artistically grown wood, or a lattice-work cage growing directly from a dwelling's walls, witchlights provide a majority of the wood elves' lighting. This, of course, only serves to further play up the ethereal, fey, nature of wood elf villages and cities.
Like the rest of the empire, the vast majority of the elves' structures revolve around what the Daiyang people call the siheyuan. This is the simple, courtyard house which can be found from one end of the empire to the other. This type of building ranges from a relatively straightforward home with three wings surrounding a courtyard for the simplest, lower-class designs to massive complexes with multiple courtyards, wings, and even gates, often with a large, ornate, frontage gate denoting the relative social class of the occupants. The main difference in construction between humans' homes and wood elves, is that the elves tend to build vertically rather than out horizontally. With each "courtyard" being multiple sections of a tree's trunk.
Within wood elf communities, the lower ranked people tend to live on the forest floors, among the trees' roots. While the upper classes tend to either live further up in the trees or even have entire trees to themselves with the aforementioned multiple-floored dwellings being relegated to themselves.
Another commonality that all elves seem to share, regardless of ethnic group, is the inclusion of large, natural-seeming gardens, both within their dwellings (often included within individual courtyards), and without. Very rarely are paths through an elven city actually at straight and at right angles. Paths tend to meander and follow the natural flow of the qi through the land, itself. This gives the elven cities or villages a very rough, slipshod, feel to most anyone not an elf. However, the elves, themselves, know that their cities, town, and villages, follow the very natural order of the world, itself.
Much of the art of the elves, whether wood, river, fox, or tanuki are inspired by the natural world around them. Even when working on pieces which involve legendary figures or even city- or village-scapes, the pieces will invariably heavily feature the natural world. Which is...only natural. Considering that most of the elven cities, themselves, tend to resemble the natural world more often than not.
Calligraphy and ink painting have a very long relationship within the empire. Originally being inspired by the elves, themselves. In these instances, it's not just the elves which draw heavily from nature when creating calligraphic ink paintings, all other races who partake in this, particular, artform have codified both the structures of the poetry and calligraphy used and the composition of the paintings, themselves, within hard rules where the individual painter is more lauded for their ability to follow tradition, than for any spontaneous creativity they might exhibit. This artform was, of course, inspired by none other than the wood elves, themselves.
Wooden sculpture tends to be the most spontaneous of the individual works created by the mu xiao. Often, the only strictures to be placed upon any sort of wood sculpture will be that it cannot be made from the living heartwood of any tree. Though, there is a certain movement coming to the fore amongst some of the master sculptors, supposedly inspired by the Harmonious Earths of the kobito clans, where one must create a single sculpture of five, different types of woods, all freely given by the trees or reclaimed, of course. It's also said that there's a master who lives closer to the Tianhe who uses driftwood found along the river's banks for his sculptures.
Musically, the mu xiao tend to favor those instruments made from wood. Much of their music tends to try to recreate the sounds of their own forests the way they hear them: in perfect harmony. The sound of the wind softly stirring the leaves of a tree played on a guzheng, the trilling of birds on a bamboo flute or wooden ocarina, their music strives to capture the sounds they so love in their humble instruments.
Going right along with their music, their dance attempts to capture the exact, same feeling within the graceful motions of their bodies. From a branch swaying in the wind, to the graceful leaps of a deer or a squirrel leaping from branch to branch.
Elven silks are prized throughout the empire for their strength, lightweight, almost diaphanous, qualities and the beauty of its embroidery. One of the most prized, surprisingly enough, being the fox elves' own sericulture textiles. Of course, not to be outdone by their skulking cousins, the wood elves embroideries are said to be second-to-none.
Foods & Cuisine
Wood elves tend to have trouble digesting most types of meat. Therefore, their diet is mainly plant-based with fruits, vegetables, grains, and legumes making up the bulk of their food intake, with their major protein intake coming from nuts and tofu, occasionally supplemented by fish. Poultry may reserved for special occasions such as New Year's. Red meat is even more rarely consumed.
The mu xiao value fresh, seasonal ingredients sourced directly from their forest environs and their own gardens. With ingredients harvested at the peak of freshness. With their intimate knowledge of their forest homes, they can easily and skillfully harvest wild mushrooms, berries, herbs, and other edible plants which are incorporated into their cuisines.
Mu xiao cuisines favor a lighter and balanced flavor profiles and aromas that allow the natural tastes of their ingredients to more easily come through. Dishes are seasons with a gentler hand, creating a more harmonized flavor profile than overpowering the dish. In this vein, they often use more delicately flavored herbs and spices. Herbs such as bai-zhi, goji, chives, basil, and mugwort, are often used in their dishes for their delicate flavors and aromatics.
While they particularly enjoy the taste of fresh ingredients, picked at the height of their flavors, they also recognize the need for preservation to make the most of any season's abundance. Therefore, they employ various fermentation, pickling, and drying methods to preserve their gathered fruits, vegetables, and herbs to ensure the supply in the more lean times of the autumn and winter months. These preservation techniques, while often adding a stronger flavor note to dishes, can add a note of complexity that wood elves enjoy in the cooler months.
When it comes to serving their foods, mu xiao place great emphasis on the aesthetic presentation of their foods. Carefully arranging dishes to take advantage of their colors, scents, and complimentary flavors. Even adding more decorative elements to their plates, such as edible flowers.
The mu xiao value fresh, seasonal ingredients sourced directly from their forest environs and their own gardens. With ingredients harvested at the peak of freshness. With their intimate knowledge of their forest homes, they can easily and skillfully harvest wild mushrooms, berries, herbs, and other edible plants which are incorporated into their cuisines.
Mu xiao cuisines favor a lighter and balanced flavor profiles and aromas that allow the natural tastes of their ingredients to more easily come through. Dishes are seasons with a gentler hand, creating a more harmonized flavor profile than overpowering the dish. In this vein, they often use more delicately flavored herbs and spices. Herbs such as bai-zhi, goji, chives, basil, and mugwort, are often used in their dishes for their delicate flavors and aromatics.
While they particularly enjoy the taste of fresh ingredients, picked at the height of their flavors, they also recognize the need for preservation to make the most of any season's abundance. Therefore, they employ various fermentation, pickling, and drying methods to preserve their gathered fruits, vegetables, and herbs to ensure the supply in the more lean times of the autumn and winter months. These preservation techniques, while often adding a stronger flavor note to dishes, can add a note of complexity that wood elves enjoy in the cooler months.
When it comes to serving their foods, mu xiao place great emphasis on the aesthetic presentation of their foods. Carefully arranging dishes to take advantage of their colors, scents, and complimentary flavors. Even adding more decorative elements to their plates, such as edible flowers.
Common Customs, traditions and rituals
Many of the wood elves' customs and traditions have been touched upon in other spots on this article. The following section will detail some more of their customs and bring detail to some of the traditions previously covered. Otherwise, many of the customs shared by either the elven ethnic groups or the empire as a whole, will not be detailed.
The tea ceremony is another wood elf custom that was fully absorbed by the ancient samurai class and brought into the humans' civilization. Though it is called a ceremony within the humans' parlance, to the wood elves it is merely the way tea is served within their culture. The mu xiao's strict social etiquette combines with their love of aesthetics and refined art forms, their tea service became something of an art form in and of itself. Though the wood elves' service lacks a lot of the more ceremonial elements of the humans' tea ceremony, it is no less structured and formal. Focusing on etiquette, preparation, presentation, and the correct forms of consumption of the tea. Which emphasizes mindfulness, harmony, and respect for the natural world.
The major festivals of the wood elven calendar are held on the days when it is commonly accepted that the seasons change from one to another. During these festivals, the wood elves make pilgrimages to the five cities whose shrines are dedicated to the trees which symbolizes these seasons. During the spring, the elves make pilgrimage and hold festivals at the eastern city of Mận, whose grove of plums' blossoms signal the end of the cold winter and the beginning of warmer spring months. In the summer, the elves journey south to Cây chùa, where the pagoda trees' blooms symbolize the beginning of summer. During the earth season, the elves make their way to to the central city of Quả đào, where the peach trees' dropping their fruit symbolizes the beginning of the earth season and the harvest. In the autumn, the elves make their pilgrimage west to the city of Bạch quả where the grove of ginkgo trees' leaves have turned yellow, symbolizing the turn to autumn. The elves make their trek north to the city of Cây thông, in order to pay reverence to the large grove of pines and pray for a good winter.
The tea ceremony is another wood elf custom that was fully absorbed by the ancient samurai class and brought into the humans' civilization. Though it is called a ceremony within the humans' parlance, to the wood elves it is merely the way tea is served within their culture. The mu xiao's strict social etiquette combines with their love of aesthetics and refined art forms, their tea service became something of an art form in and of itself. Though the wood elves' service lacks a lot of the more ceremonial elements of the humans' tea ceremony, it is no less structured and formal. Focusing on etiquette, preparation, presentation, and the correct forms of consumption of the tea. Which emphasizes mindfulness, harmony, and respect for the natural world.
The major festivals of the wood elven calendar are held on the days when it is commonly accepted that the seasons change from one to another. During these festivals, the wood elves make pilgrimages to the five cities whose shrines are dedicated to the trees which symbolizes these seasons. During the spring, the elves make pilgrimage and hold festivals at the eastern city of Mận, whose grove of plums' blossoms signal the end of the cold winter and the beginning of warmer spring months. In the summer, the elves journey south to Cây chùa, where the pagoda trees' blooms symbolize the beginning of summer. During the earth season, the elves make their way to to the central city of Quả đào, where the peach trees' dropping their fruit symbolizes the beginning of the earth season and the harvest. In the autumn, the elves make their pilgrimage west to the city of Bạch quả where the grove of ginkgo trees' leaves have turned yellow, symbolizing the turn to autumn. The elves make their trek north to the city of Cây thông, in order to pay reverence to the large grove of pines and pray for a good winter.
Birth & Baptismal Rites
Like all elven births, the pregnancy of a wood elf woman is a highly celebrated time amongst a family, and even the broader community around her. This is also a time of much doting upon the expectant mother.
When she first learns of her condition, she, like so many other mothers throughout the empire, she makes a journey to the nearest shrine dedicated to the deities of motherhood and birth, there to pray for an easy pregnancy, birth, and a healthy child. As to be expected, many wood elf shrines and temples are in the midst of sacred groves of trees, and the mother-to-be will also be offering prayers and thanks to the spirits of the forest as well as the higher gods, in order to receive nature's blessing upon the child growing within her as well.
Like other mothers, wood elf mothers are expected to match their diet up with the foods thought to be healthy for the developing life. This is probably the only time in their existence when a wood elf will consume more animal protein than vegetable matter. As it seems that developing children crave the fats and complex proteins found in meat. These proteins will most often consist of fish and chicken. This more meat-based diet is, of course, supplemented with herbal preparations of healing plants and forest herbs believed to promote vitality and growth within the child. With the added benefit of enhancing its connection to the natural world.
Wood elf mothers have even taken a step from the Daiyin humans further to the south by adopting the obi-iwai ritual of binding a cloth belt around the belly to keep the child warm and to help support the growing weight of the baby. There are two differences between the original ritual and what the wood elves do, however. In the wood elf version, the band is red, and a talisman made of the local shrine's tree is bound in place beneath the band.
Just prior to the birth of the child, a birthing chamber is grown from a local grove of peach and apricot trees, both of which are symbolic of motherhood, just off of the shrine grounds. The apricot is especially symbolic among the elves, the blossom of which symbolizes maternal affection. Peach trees are also used due to their traditional ability to ward off malevolent spirits. The chamber, itself, is carpeted in soft mosses with flowers such as chrysanthemums and peonies which are also symbolic of motherhood throughout the empire. There, the laboring mother is cared for by a midwife, her close, female relatives, and the priestesses of the nearby shrine. The latter of which offer prayers and rhythmic chants to help support and guide the mother in her hours of labor.
After birth, the mother then has her "sitting in" time of thirty days, which she spends continuously within the birthing chamber itself. During this time, much like with other races, she is discouraged from moving about and encouraged to eat rather heavily flavored foods to encourage the production of milk. Her cravings for animal protein will lessen, and she will, once again, be getting much of her protein from plant-based sources such as nuts and tofu. Chicken broth, however, is still encouraged during the first two weeks.
Once the baby has reached its third month of life, like other elves, the wood elves hold the naming ceremony where the child is taken to the local shrine and introduced to both the ancestors and the community at large with its given name. A tree, symbolizing the child's nature, is planted at the shrine and is encouraged to grow around a small, hollow plaque with the child's name which contains a small clipping of his or her hair. Thus, is the baby connected to its home shrine and the natural world for the rest of its life.
After this, a feast is held to celebrate the new addition to the community.
When she first learns of her condition, she, like so many other mothers throughout the empire, she makes a journey to the nearest shrine dedicated to the deities of motherhood and birth, there to pray for an easy pregnancy, birth, and a healthy child. As to be expected, many wood elf shrines and temples are in the midst of sacred groves of trees, and the mother-to-be will also be offering prayers and thanks to the spirits of the forest as well as the higher gods, in order to receive nature's blessing upon the child growing within her as well.
Like other mothers, wood elf mothers are expected to match their diet up with the foods thought to be healthy for the developing life. This is probably the only time in their existence when a wood elf will consume more animal protein than vegetable matter. As it seems that developing children crave the fats and complex proteins found in meat. These proteins will most often consist of fish and chicken. This more meat-based diet is, of course, supplemented with herbal preparations of healing plants and forest herbs believed to promote vitality and growth within the child. With the added benefit of enhancing its connection to the natural world.
Wood elf mothers have even taken a step from the Daiyin humans further to the south by adopting the obi-iwai ritual of binding a cloth belt around the belly to keep the child warm and to help support the growing weight of the baby. There are two differences between the original ritual and what the wood elves do, however. In the wood elf version, the band is red, and a talisman made of the local shrine's tree is bound in place beneath the band.
Just prior to the birth of the child, a birthing chamber is grown from a local grove of peach and apricot trees, both of which are symbolic of motherhood, just off of the shrine grounds. The apricot is especially symbolic among the elves, the blossom of which symbolizes maternal affection. Peach trees are also used due to their traditional ability to ward off malevolent spirits. The chamber, itself, is carpeted in soft mosses with flowers such as chrysanthemums and peonies which are also symbolic of motherhood throughout the empire. There, the laboring mother is cared for by a midwife, her close, female relatives, and the priestesses of the nearby shrine. The latter of which offer prayers and rhythmic chants to help support and guide the mother in her hours of labor.
After birth, the mother then has her "sitting in" time of thirty days, which she spends continuously within the birthing chamber itself. During this time, much like with other races, she is discouraged from moving about and encouraged to eat rather heavily flavored foods to encourage the production of milk. Her cravings for animal protein will lessen, and she will, once again, be getting much of her protein from plant-based sources such as nuts and tofu. Chicken broth, however, is still encouraged during the first two weeks.
Once the baby has reached its third month of life, like other elves, the wood elves hold the naming ceremony where the child is taken to the local shrine and introduced to both the ancestors and the community at large with its given name. A tree, symbolizing the child's nature, is planted at the shrine and is encouraged to grow around a small, hollow plaque with the child's name which contains a small clipping of his or her hair. Thus, is the baby connected to its home shrine and the natural world for the rest of its life.
After this, a feast is held to celebrate the new addition to the community.
Coming of Age Rites
When a young elf reaches the ages of 80-90 (approx. 15-16) years of age for a female, and 100-110 years of age for a male, they are considered to have reached their age of majority and are ready for their coming of age ceremonies to enter into adulthood. These ceremonies follow many of the same cues as similar ceremonies across the face of the empire. Among these elves, these ceremonies are called Lễ thành niên for boys, and Tuổi cập kê for girls.
These ceremonies are hosted either by the father or the mother, respectively, at the ancestral shrine. For at least a decade before this ceremony, the elven youngsters would have been learning a trade or skill under one of the other adults in the compound. This adult would be selected as the honored guest to perform the rite for the child.
Once at the shrine, the young one is ceremonially changed into adult clothing with the help of the appropriate parent from behind a folding screen. They then offer incense, sacrifices, and prayers to the ancestors, before giving a ceremonial demonstration of their skill. If the elf is entering academia and the Bureaucracy, his or her academic accomplishments and enrollment into the National Academies will be acknowledged.
Once they have officially demonstrated their abilities to succeed to the gathered adults and ancestors, the boy's hair is usually bound up and he is given a ceremonial hat appropriate to his career choice, while the girl's hair is brushed out and gathered up into a bun before being pinned there with a hairpin given to her by her mother. The boy or girl then bow, again, to their parents and to the ancestors, and finally write their own name into their family registries.
These ceremonies are hosted either by the father or the mother, respectively, at the ancestral shrine. For at least a decade before this ceremony, the elven youngsters would have been learning a trade or skill under one of the other adults in the compound. This adult would be selected as the honored guest to perform the rite for the child.
Once at the shrine, the young one is ceremonially changed into adult clothing with the help of the appropriate parent from behind a folding screen. They then offer incense, sacrifices, and prayers to the ancestors, before giving a ceremonial demonstration of their skill. If the elf is entering academia and the Bureaucracy, his or her academic accomplishments and enrollment into the National Academies will be acknowledged.
Once they have officially demonstrated their abilities to succeed to the gathered adults and ancestors, the boy's hair is usually bound up and he is given a ceremonial hat appropriate to his career choice, while the girl's hair is brushed out and gathered up into a bun before being pinned there with a hairpin given to her by her mother. The boy or girl then bow, again, to their parents and to the ancestors, and finally write their own name into their family registries.
Funerary and Memorial customs
As has been mentioned previously, wood elves have an aversion to open, particularly large, flames. Therefore, they do not cremate their dead the way that many other peoples within the empire do. They, instead, inter the deceased into a large willow tree or peach tree.
Though many of the same customs and rites apply to the wood elves, as they do the majority of peoples, the similarities end when it comes time to cremate. Rather, the deceased's body, bound tightly in a white cloth with a green kami mask, is taken by the participants, themselves masked in green kami masks, to a large grove of willow and peach trees. A grove which sits, bound in shimenawa and shide, outside of the western point of every village. Once the family's tree has been reached, the body is moved to a fetal position against the base of the tree. There, the priest, masked in gold, makes the proper supplications to the spirit within the tree, the base of the tree splits, and the roots begin pulling the body into the tree. There to be interred until it has become a part of the tree itself.
Though many of the same customs and rites apply to the wood elves, as they do the majority of peoples, the similarities end when it comes time to cremate. Rather, the deceased's body, bound tightly in a white cloth with a green kami mask, is taken by the participants, themselves masked in green kami masks, to a large grove of willow and peach trees. A grove which sits, bound in shimenawa and shide, outside of the western point of every village. Once the family's tree has been reached, the body is moved to a fetal position against the base of the tree. There, the priest, masked in gold, makes the proper supplications to the spirit within the tree, the base of the tree splits, and the roots begin pulling the body into the tree. There to be interred until it has become a part of the tree itself.
Common Taboos
It is inappropriate for anyone other than one's lover to see one's naked body. Therefore, facilities where there is a chance of a stranger seeing one's nude form, such as a bathhouse, are segregated according to sex and are always without light. The elves' qi sight allows them to see only outlines and vague forms. Enough to move about in the darkness confidently, but not enough to see detail.
Reacting emotionally in a public setting where strangers can see is highly inappropriate. Especially if it is done in response to someone else's nettling. This causes a loss of Face.
Do not eat the peaches from the funeral grove. Many peach trees are planted in the funeral groves of elven villages and cities due to their purported ability to ward off malevolent forces. This is done more to keep any possible ghosts in, rather than trying to keep things out. Like every other peach tree in existence, these trees will flower and produce edible fruit. However, because of the location of these peach trees and their proximity to the energies of death, it is forbidden for anyone to eat the fruit of those trees as they, themselves, could then be tainted by death. Popularly, any fruits within the funeral grove are considered to be for the ancestors themselves.
The wood elves hold the ancient trees within their sacred, temple groves in the highest regard. They are the sacred kami which protect and nurture the village or city as a whole and to deliberately bring harm to them, or to engage in any disrespectful behavior around them, is a direct offence against the forest spirits, the ancestors, and the village or city, itself.
The very idea of bringing wanton destruction of plants life is anathema to the mu xiao. Plants are living beings with their own spirits, therefore bringing harm to them without need can result in some of the harshest punishments within wood elf society. Nearly on par with those for harming the sacred groves.
Violating the personal space of another being without consent is a violation which can cause loss of Face.
As has been mentioned before, public displays of emotion, whether that be anger, lust, or even affection, especially in front of strangers can lead to a severe loss of Face within the elven community.
Those who would betray the trust of those closest to them, whether through actual treachery or by revealing personal information, are considered to be no better than the twisted beasts of the Storm God.
Reacting emotionally in a public setting where strangers can see is highly inappropriate. Especially if it is done in response to someone else's nettling. This causes a loss of Face.
Do not eat the peaches from the funeral grove. Many peach trees are planted in the funeral groves of elven villages and cities due to their purported ability to ward off malevolent forces. This is done more to keep any possible ghosts in, rather than trying to keep things out. Like every other peach tree in existence, these trees will flower and produce edible fruit. However, because of the location of these peach trees and their proximity to the energies of death, it is forbidden for anyone to eat the fruit of those trees as they, themselves, could then be tainted by death. Popularly, any fruits within the funeral grove are considered to be for the ancestors themselves.
The wood elves hold the ancient trees within their sacred, temple groves in the highest regard. They are the sacred kami which protect and nurture the village or city as a whole and to deliberately bring harm to them, or to engage in any disrespectful behavior around them, is a direct offence against the forest spirits, the ancestors, and the village or city, itself.
The very idea of bringing wanton destruction of plants life is anathema to the mu xiao. Plants are living beings with their own spirits, therefore bringing harm to them without need can result in some of the harshest punishments within wood elf society. Nearly on par with those for harming the sacred groves.
Violating the personal space of another being without consent is a violation which can cause loss of Face.
As has been mentioned before, public displays of emotion, whether that be anger, lust, or even affection, especially in front of strangers can lead to a severe loss of Face within the elven community.
Those who would betray the trust of those closest to them, whether through actual treachery or by revealing personal information, are considered to be no better than the twisted beasts of the Storm God.
Ideals
Beauty Ideals
In either gender, comporting oneself with poise and dignity, never showing an inappropriate amount of emotion, and knowing the exact proprietal forms for any given social situation, is considered to be one of the most attractive qualities an individual can have. As well as, being able to move with utmost grace, even under several layers of clothing.
Due to the fact that the mu xiao tend to cover themselves from neck to ankle, the parts of the body that are visible have become idealized nearly to the point of fetishism among their society. Thus, the hands, face, neck, and even hair have become the focal point for their beauty ideals. Skin the color of polished oak, eyes as brilliant as new, spring leaves, lips the color of a peach blossom, delicately pointed ears, straight, white teeth, and a lean, graceful neck are all considered ideal forms of feminine beauty among the wood elves. Intricate and ornate hairstyles have become symbolic of an elven woman's attention to detail, artistic flair, and a measure of her grace in the eyes of her suitors. Soft, delicate hands with long, nimble fingers complete the idealized package.
This near-fetish is not lost on the females, either. Skin like stained oak, eyes like summer leaves, strong jawline and chin, straight, white teeth, sharply pointed ears, a finely muscled neck, and hands that are graceful, yet contain an obvious strength are all features of an ideal male. Not to be outdone on the hair front, wood elf women have taken to hiding small bits and baubles in their hair to test a potential suitor's own attention to fine details. Additionally, a stronger, more hawkish, nose is something of a consideration when choosing a mate of the male gender. It's said that the size of a man's nose is indicative of the size of other parts, as well.
Due to the fact that the mu xiao tend to cover themselves from neck to ankle, the parts of the body that are visible have become idealized nearly to the point of fetishism among their society. Thus, the hands, face, neck, and even hair have become the focal point for their beauty ideals. Skin the color of polished oak, eyes as brilliant as new, spring leaves, lips the color of a peach blossom, delicately pointed ears, straight, white teeth, and a lean, graceful neck are all considered ideal forms of feminine beauty among the wood elves. Intricate and ornate hairstyles have become symbolic of an elven woman's attention to detail, artistic flair, and a measure of her grace in the eyes of her suitors. Soft, delicate hands with long, nimble fingers complete the idealized package.
This near-fetish is not lost on the females, either. Skin like stained oak, eyes like summer leaves, strong jawline and chin, straight, white teeth, sharply pointed ears, a finely muscled neck, and hands that are graceful, yet contain an obvious strength are all features of an ideal male. Not to be outdone on the hair front, wood elf women have taken to hiding small bits and baubles in their hair to test a potential suitor's own attention to fine details. Additionally, a stronger, more hawkish, nose is something of a consideration when choosing a mate of the male gender. It's said that the size of a man's nose is indicative of the size of other parts, as well.
Gender Ideals
Due to their elemental natures, mu xiao have a much deeper connection with Yang than many of the other races. Men are often seen as administrators, while women are leaders. Therefore, the ideal male is one who is highly intelligent, meticulous, and with an attention to fine details. He has no problems being in a support role and always has his partner's back. While the ideal female is passionate and wise. She has no problems leading from the front, and is always ready to listen to the advice of those supporting her.
The mu xiao are creatures of deeply felt passions resting just beneath the surface. Their history, however, has taught them that allowing those passions free-reign can have catastrophic results. Therefore, for both genders, the ability to conceal one's emotions beneath a calm, placid surface is the most basic of qualities that one should possess.
The mu xiao are creatures of deeply felt passions resting just beneath the surface. Their history, however, has taught them that allowing those passions free-reign can have catastrophic results. Therefore, for both genders, the ability to conceal one's emotions beneath a calm, placid surface is the most basic of qualities that one should possess.
Courtship Ideals
As with other races aligned to Yang, passionate affairs amongst the mu xiao are incredibly common. Even expected. However, due to their rigid social customs, the appropriate forms of propriety must always be observed when in public. Thus, a courtship affair is always started quite formally with a letter of introduction and intent to the potential paramour's parents. The letter is always quite poetic and uses the appropriate style and verse.
Once assent is given, which is rarely ever not done, in the form of a response letter, the potential couple officially meet. With parental accompaniment or appropriate chaperones. Indeed, chaperones of one form or another are present at every public meeting between the two lovers up to the day they are wed. If things progress that far. While in view of others, the couple does not touch and are expected to maintain an appropriate distance between them at all times. If applicable, females must wear the full mili, a broad hat with a silken veil falling to her hips. While males, if applicable, must wear the mian, a small, rectangular-board hat with beaded strings hanging from the ends. Thus, the public forms of propriety are maintained. Behind the public facade, however, an entirely different interaction is often taking place.
Once the couple has met for the first time, under the supervision of intended's parents, and the potential lover has given their consent, the public face is just that. It is fully expected from this point on that the couple will be much more intimate with each other in private. Private meetings in out-of-the-way areas, secret trysts. So long as both parties consent, all is on the board. The image of propriety must be maintained, however, and if the couple is caught in the middle of a secret meeting, sexual or not, by anyone except close family, the courtship is immediately ended by both families. As it is decided that, if the couple cannot keep enough control over their desires to not be caught, then they are not ready to court at all. Getting caught by close family, however, is often not used as grounds for terminating a relationship. Parents, for example, will often act as if nothing untoward is happening, keeping Face while wearing a knowing smile on the inside.
Once assent is given, which is rarely ever not done, in the form of a response letter, the potential couple officially meet. With parental accompaniment or appropriate chaperones. Indeed, chaperones of one form or another are present at every public meeting between the two lovers up to the day they are wed. If things progress that far. While in view of others, the couple does not touch and are expected to maintain an appropriate distance between them at all times. If applicable, females must wear the full mili, a broad hat with a silken veil falling to her hips. While males, if applicable, must wear the mian, a small, rectangular-board hat with beaded strings hanging from the ends. Thus, the public forms of propriety are maintained. Behind the public facade, however, an entirely different interaction is often taking place.
Once the couple has met for the first time, under the supervision of intended's parents, and the potential lover has given their consent, the public face is just that. It is fully expected from this point on that the couple will be much more intimate with each other in private. Private meetings in out-of-the-way areas, secret trysts. So long as both parties consent, all is on the board. The image of propriety must be maintained, however, and if the couple is caught in the middle of a secret meeting, sexual or not, by anyone except close family, the courtship is immediately ended by both families. As it is decided that, if the couple cannot keep enough control over their desires to not be caught, then they are not ready to court at all. Getting caught by close family, however, is often not used as grounds for terminating a relationship. Parents, for example, will often act as if nothing untoward is happening, keeping Face while wearing a knowing smile on the inside.
Relationship Ideals
This was touched on, above, in Gender Ideals. The ideal relationship, particularly a marriage, is one in which both partners keep Face and are supportive of one another in public. In private, whether in anger or love, their passions are boundless. Screaming rows while in the privacy of one's own home are not considered to be uncommon things. Neither is the passion of the making up, afterward. Unleashed passions in private, outward calm in public. These are considered to be the ingredients for an ideal relationship.
One thing bears mentioning, however. Physical violence between couples is never considered appropriate, even in private. If it is suspected that one, or both, partners are being abused, the wood elf government, itself, will step in to investigate and dissolve the relationship, if needed.
One thing bears mentioning, however. Physical violence between couples is never considered appropriate, even in private. If it is suspected that one, or both, partners are being abused, the wood elf government, itself, will step in to investigate and dissolve the relationship, if needed.
Encompassed species
Related Organizations
Comments