User:LAVENDER

Berkana LeJardine Faendryl Race [[Giantman]] Class Harbinger Profession Bard Religion Order of Mularos, Cult of Harith Affiliation(s) Member of Silvergate Inn, Order of the Shadow, Hand of the Arkati Disposition Peevish and impulsive Demeanor Reserved Flaw several Habits shifting weight from one hip to another Hobbies loresinging, writing religious hymns, collecting whips, painting and drawing Likes whips, tea, blood Dislikes roses, Elven houses of Illistim and Vaalor

[[Category: Giantman player characters]]

Berkana LeJardine Faendryl is a giantman bard and devout follower of Mularos. She resides at an estate outside the elven city of Ta'Illistim. She is an avid collector of whips and among her extensive collection, Holy Scourge is the most famous. She took the last name Braggiani in deference to apparent human ancestry in her bloodline, which she discovered after obtaining the legendary weapon.

Described by some as an iron fist in a silken glove, Naamit is both charismatic and ruthless. She has a particular dislike for the smell of roses and if left long enough, the scent will drive her into a maddened rage. She is keenly interested in learning secrets so Loresinging is a natural fit for her. Naamit does not, however, sing for pleasure or audience.

Naamit is a Master Painter.

History

Rumored to have been born on Eorgaen 12, 5061, Naamit took up residence in Wehnimer's Landing in 5096. She was married to Lord Tabalt Valkiryan, a dwarven warrior, until his unexpected death following a lucrative business deal in the following year. In the summer of 5098, she married Lord Reveko Mwani, a giantman ranger, to solidify a business venture, however he vanished under questionable circumstances sometime thereafter. She moved to Ta'Illistim in 5101, but still owns property in Wehnimer's Landing. Naamit was given the mark of Mularos in the form of a scar upon her neck on 23 Charlatos, 5102, presumably by the Painlord Eryael just prior to his arrival to Ta'Illistim. She fought on the side of the Dark Alliance during the Griffin Sword War and grew close to Harith Caerines, the self-ascribed Whip of Mularos. Harith appointed Naamit as proxy Whip, in the event unfortunate circumstances befell her, which they eventually did. Naamit rescued Harith's soul (albeit temporarily) from the Pale in 5103, but was unable to maintain control of Ta'Illistim in Harith's stead. She also formed a close friendship with Ysharra, and their affinity persists beyond the pain of time.

Naamit previously led a cult known as the Harem Dzosch; the group faded into obscurity upon her disappearance sometime between 5104 and 5106.

Naamit returned to the Elven Nations in 5116 after a decade-long journey of searching for any possible remnant of her former mentor, Harith. She took up residence at an estate outside the elven city of Ta'Illistim and restarted a small, but rewarding private business there. She was officially recognized as a Master Painter in Ivastaen, 5117, and granted Grand Lady status in Lumnea of the same year. Naamit was briefly bonded to Heartfire Durden, a giantman guardian, following a bloodbath in the Duskruin Arena trials of Phoenatos, 5117.

In the year 5118, Naamit acquired a piece of black ora shaped curiously like the hilt of her whip; the antithetical artifact turned her neck to ruin, rendering her singing voice to sound like the piercing wail of a banshee. Storms are said to precede her arrival ever since.

Appearance

It is difficult to get a good look at Naamit due to the number of mirror images of her nearby.

You see Mistress Naamit DMVMD-Braggiani the Harbinger of the Harrows.

She appears to be a Giantman.

She is shorter than average. She appears to be youthful. She has piercing vibrant green eyes and pale, alabaster skin. She has thick locks of long, glossy black hair flowing down her back beneath the drape of a sparkling black lace mantilla. She has an angular face, a prominent nose and a fleshy, muscular build with generously proportioned hips. She has a myriad of thin chain-shaped scars running across her exposed flesh.

She has a deep black cuff of finely polished glaes in the middle of her nose, a deep black ring of finely polished glaes in her lip, a faint scar on her neck, some cross-like blackwork extending from the neck downward past her collarbone, and a tattoo of a crimson heart pierced with a silver dagger on her chest.

She is holding a barbed white ora whip with a cross-like handle in her right hand.

She is wearing a writhing black ora cross, a sable lambswool cloak trimmed with ebon-tipped ermine tails, a black iron symbol wrapped in white leather and embossed with a blood-red heart, a firm hourglass girdle of black onyx samite over a lustrous cloth-of-eahnor gown awash in shadowy patination, and some sanguine velvet chopines lofted on scarred ebonwood heels.

Publications and Assorted Stories

Mularosian Cadance. Gloumerrick Publishing House, 5103

a scarlet glaes tome
>look tome 
Dark and pale silver inlay combine with the translucent scarlet glaes to produce the crest of Mularos upon the surface of the tome.  The lines of text on the first page can dimly be glimpsed through the cover, shadowed in sanguine light and faintly touched by the glaes's natural iridescence, though they are not visible enough to be read.  A teardrop-cut black diamond has been set into the spine, and engraved letters running down the spine read, "Mularosian Cadence, by Naamit D. Monica".

>
Naamit D. Monica
Mistress of the Harem Dzosch

Years ago, I sought answers and information on my master, Lord Mularos.  In these endeavors, I encountered Lord Stumo, who spent many of his own years seeking the answers and clarity I so desired.  It is then, that I began to learn all that I could from the man.  Years prior, a hooded man came to Wehnimer's Landing and spoke of Lord Mularos.  During that visit, Lord Stumo learned of the fate of Mularos - The explanation for His silence.The lore Lord Stumo came across those years ago is the basis for what has since become known as the beginning of Mularosian Cadence.

I have said innumerable times that the Mularos we think of today was not the Mularos of times passed.  For long ago Phoen, Kai, and Mularos were allies.  Their relationship however, was not of equal portions; Phoen and Kai held a much closer bond.  Their natures were vastly more competitive and brutish than that of Mularos. Yet within this, Mularos possessed the charm and physical beauty the other two lacked - Perhaps as a result of his less barbaric nature.

For some reason, (one which I care not to speculate on too heavily lest it be grossly incorrect) Kai specifically took a disliking for Mularos and thus Kai sought to destroy him.  Mularos was set to the rack and given lashings by Kai's favored minions.  It was enough to destroy most anyone; yet oddly, Mularos did not perish. He was wounded, doubt you not!  After a time, with each lashing, he grew from the suffering.  When it was announced to Kai that his methods were appearing unsuccessful, he sought the assistance of his brother Phoen.  In turn, Phoen suggested a visit to Eonak, metalsmith of the Arkati, for further assistance.

In the meantime, Mularos continued growing from the repeated torture and broke free of his bonds and moved to strike out at Kai!  M'Lord struck him such a blow, such an infliction, that Kai was fairly undone for a time.  As a result of his own actions, Mularos was further empowered.  But not done is the tale, for Phoen saw the happenings and sought out Eonak himself.  Phoen rushed to Eonak with a plan for some enclosure to keep Mularos from destroying them all (mind you, Phoen failed to relay the whole story to Eonak).  Disgusted with what had transpired, the metalsmith set to create the cell of Phoen's request- One that would keep Mularos at bay for all time.

A trap was set; Mularos was captured and then forced into the cell forged by Eonak.  Shortly thereafter, Mularos nearly escaped as his strengthening power had been underestimated by the metalsmith.  Eonak couldn't let his creation be undermined that easily, no!  He reinforced the tomb with glaes, a magical volcanic glass, and placed upon this tomb, a lock of the strongest magical material he could possibly create.  The chamber was placed in the Sea of Fire, a desert region rather well-visited by the likes of the Sun.  This place was chosen so that a close eye could be kept on the chamber to ensure Mularos would not again escape.  The tomb was so strong that indeed, Mularos could not escape.  Due to the translucent nature of the material Eonak used to reinforce the tomb, Phoen's fury literally baked Mularos's flesh for half of each day!

But again as before, Mularos's ways and powers were underestimated and misunderstood by those who meant to destroy him.  The Sea of Fire, by its very nature, harms. The situation Mularos was placed in, while seemingly irrevocable, is nearly ideal.  Lord Mularos continues to grow and strengthen within the impenetrable tomb; not only through his own suffering, but through the pain of others, just as he had in times passed.

As Stumo set out to answer years ago, I too wish an end to my master's imprisonment.  Yet, I know that this is impossible - For His continual suffering is the truth in the binding rhythms of His sacrifice.  He bleeds for us, as we bleed for him.  The inevitability of this dual servitude cannot be undone.

Menya. Ebon Gate Storytelling contest, 5117

Naamit takes a few steps in a small circle.

(Naamit screws up her face a moment and shakes her head.)

(Naamit stares a moment at her warm rooibos and assumes a somber, emotionless countenance.)

Naamit tilt your head up.

Naamit slowly begins, "Last night I had a dream.."

Roblar smiles at Naamit.

Naamit says, "Seven years ago, I was found injured.  I do not remember how it happened or where I was exactly.  A woman picked me up, nursed me back to health she was like the sister I never had. I think.  My childhood is a blur, but faint memories of a pine forest and a small brood of girls happily watched by a tall, broad-shouldered man, this is what plagues my memories despite being dreams."

Naamit closes her eyes for a moment.

Naamit glances away.

Naamit simply states, "The woman who saved me in the dream, Menya, she was an average-statured woman with brunette hair, so wavy and long.  She wore it in a tousled bun and long tendrils perpetually waved around her freckled face."

Naamit distantly says, "Menya's eyes, those pale grey eyes, framed with a spattering of freckles.  I will never forget them.  She may have been a stranger, but never will I forget her love for me.  I don't know how or why she saved me.  How I miss her."

Naamit takes a few steps back.

Naamit wistfully says, "Menya used to say, "I love you like my own, love me for who I am.  I have saved you and will call you my Leskelle, my happy love."  Menya used to say I smiled as she was nursing me back to health.  She said I knew her caring was from the heart."

Naamit nods slowly.

Naamit tilts her head down.

Naamit sincerely says, "I believe it was true."

Naamit sighs.

Naamit solemnly reveals, "Menya indeed nursed me to a fit state, having mended what remained of my left arm which was severed at the forearm.  Menya said she would take care of me.  She said I could still love, even with one arm.  She said I could become a productive warrior.  I never wanted to fight anyone, but she didn't ask that."

Naamit ponders.

Naamit adds, "At night she would tie me to a tree as I slept to keep me safe.  From the bears, she said."

Naamit sadly muses, "Menya taught me how to speak without my voice.  We moved together, silently.  Menya brought me to her people.  Other women, who, like me, were afflicted with terrible wounds.  These women were all beautiful beyond compare. Not even the maimed were unskilled."

Naamit traces the lines of her faint scar.

Naamit curiously says, "I noticed after a time, those injured women seemed to follow the unflawed.  Menya told me the women were merely obedient in the face of authority.  She told me who I should watch out for."

Naamit takes a few steps back.

Naamit continues, "Months and years went by with Menya.  I loved her as a sister, I loved her as she was."

Naamit's lower lip trembles slightly.

Naamit regretfully says, "Menya left me most tragically.  We had left the brood to hunt the red stag.  How I enjoyed hunting red stag.  We were taken down by a pack of bears.  She was mauled terribly."

Naamit's eyes suddenly flash with a pale grey glow.

Naamit tightens her grip on her warm rooibos.

Naamit remorsefully cries, "My Menya was dead when I awoke, her parts torn asunder. What I thought were bears had been very hairy men."

Naamit inhale sharply, hissing through her teeth.

(Naamit glares around the audience, eyeing each man carefully.)

Naamit points at Roblar.

Naamit spits, speaking vehemently to Roblar, "You.  I did not know who you were then, but you professed to have been saving me from the twine and bondage.  From certain imprisonment and the filth of womanhood."

Roblar pulls the ivory-fanged bear head hood of his bear hide greatcloak over his head, gaining coverage from the gelidity.

Roblar narrows his eyes.

Naamit scrubs her hand through her lustrous charcoal black hair in frustration.

Roblar cracks his knuckles!

Roblar's stomach growls.

Naamit angrily curses, "Had Menya not died, I would have run away with her.  She was what I loved and not You!  Are YOU that bear, of this I am stil not certain!"

Naamit takes a deep breath.

Naamit turns away from Roblar, ignoring him.

Naamit mumbles, speaking cryptically to herself, "But it is Visne, he calls me now.  I am not Leskelle for my Menya and my women, she and they are no more."

Naamit sighs.

(Naamit takes a moment to compose herself.)

Naamit confusedly speculates, "I still think he was lying when he claims I was once his wife.  It is irrelevant at this point.  That was years ago and he treated me well.  He states he nursed me back to health and will love me always.  He has, and in this I must put my faith."

Naamit suddenly reveals, "I remember brief glimpses of something.  A brood of girls and a tall man wearing bear skin.  And then, there are only women.  They serenade a disboweled and broken man just before they are flung to the wind, each upon the back of a golden eagle.  They look down upon the earth in triumph, but their names and faces are gone and the seance is ruined."

Naamit raises her hand.

Naamit hurriedly gushes, "I can only hope to someday remember who they -- Who I -- Truly am in any of this."

Naamit vaguely concludes, "And tonight, perhaps I will dream of another broken man."

Naamit glances at Roblar.

Naamit takes a few steps back.

Naamit bows.

Roblar gazes at Naamit with a deadpan expression and applauds in slow motion.

Roblar pushes the ivory-fanged bear head hood of his bear hide greatcloak onto his shoulders, exposing himself to the frigidity.

Painting

By way of a painting easel.

Portraiture

A Heroic Giantkin Male Portrait

Standing valiantly in the foreground of the painting with his foot planted atop a deceased six-headed maple turkey king is the image of a giantkin man gazing across an open field, his black craquemarte raised high above his head. Grey swirls are lightly sketched across an open black sky, and a full moon's faint outline is scarcely visible beneath the veil of ominous-looking clouds.

In the Common language, it reads:

"A rendition of Heartfire Durden" -- by Naamit

A Sultry Aelotoi Male Portrait

Sprawled out across a chaise is the reclined image of an aelotoi male, his crimson-veined luminous yellow eyes turned outward in a sultry gaze. Painted across the canvas backdrop are rows of stark white candles with brilliant yellow-orange flames, the light reflected perfectly in the model's eyes.

In the Common language, it reads:

"A rendition of Cruxophim" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Mounted on a pike right through the chin and protruding through the skull, the face of a shriveled halfling stares vacantly ahead. The polee's path might be visible, were it not for a moldered muffin crammed in the creature's gaping maw. Ribbons of skin cut from the cheeks are drawn up above its head and wrapped around the pike's tip in a floppy bow.

In the Common language, it reads:

"Muffin Man, 51170429" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red and thoroughly distressed. It's apparent the banshee depicted has one foot in the grave and the other in Luukos's maw. Skin is shriveled upon its crooked frame and dark scarlet flames erupt from bloodied eye sockets. A few braids of chin-length, wavy hair cling to its rotting scalp, while a piece of barbed razern chain is affixed to the canvas as if fused to the bone of its right wrist. What's left of the apparition is cloaked in a pitifully tattered robe.

In the Common language, it reads:

"H.C., 51170429" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman is depicted in three-quarters view, facing a short, scarred giantwoman with a girdled waist. Her face is devoid of expression. The man's massive craquemarte is held outstretched before him, as if in offering to the female, whose hands are occupied by a whip made of chain. Deeply scrawled, stylized flames mar the bottom third of the image, yet it's clear the man is kneeling.

In the Common language, it reads:

"Willing Participant, 51170429" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman is depicted amid a mountain of decimated creatures. Limbs, heads and ribcages flayed of flesh and meat surround the man. The massive craquemarte in his right hand is raised high in a mighty, defiant pose despite a complete lack of emotion on his face. Deeply scrawled, stylized flames mar the pile of carcasses in bottom third of the image.

In the Common language, it reads:

"Measure of Progress, 51170430" -- by Naamit

a pewter fillet-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman stares blankly ahead without emotion. His left hand sits aloft on the hip and his stance is curiously wide. A massive craquemarte is held firmly in the figure's right hand, though angled downward toward a heap of dead elves at its feet. Deeply scrawled, stylized flames mar the pile of bodies in bottom third of the image.

In the Common language, it reads:

"Submission, 51170429" -- by Naamit

an elaborate gold-framed painting

The description of this image is unavailable, however a corroded, greenish patina covers the gold frame giving it a less than prestigious appearance.

In the Common language, it reads:

"Ivastaen Rising, 51170503" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The artwork is mostly devoid of imagery, save for a small, balled up child staring blankly ahead who is tucked away in the distant corner of an otherwise stark room. An off-kilter window sill is painted around a hunk of reflective material affixed to the canvas on the right, while heavy striations along the foreground suggest rotting wood floors.

In the Common language, it reads:

"Watch Her, 51170505" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. An aged human man with long hair that is lighter hair at the temples, kneels in a three-quarter pose. Cradled in his palms just before his sculpted carmine leather cuirass is the wrist of another, whose forearm extends off to the left edge of the image as if it was the viewer's own. His posture shows restraint, yet moonlit eyes reveal considerable interest in the bloodied appendage before him.

In the Common language, it reads:

"Whet I, 51170509" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights and is rendered in first-person view. The foreground contains a pair of scarred and shapely thighs that are bent at the knee. Rows of unintelligible scrawling mars the subject's left leg. The raised platform of a chopine is visible far to the right, suggesting the subject is haphazardly slumped on the ground. Atop the knees rests a similarly scarred, thick right arm and utterly limp, outstretched hand.

In the Common language, it reads:

"Tribulation I, 51170513" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Propped up against a chaise is the image of a limbless halfling male, his eyes turned outward in a sultry gaze. Painted across the canvas backdrop are rows of severed fingers topped with brilliant flames, the light reflected perfectly in the model's eyes. A voluminous pastry is perched to the far end of the tiny chaise, obviously out of reach.

In the Common language, it reads:

"Muffin Man II, 51170514

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Dark and moody, the scene takes place in what might be a cellar, though the audacious creatures milling about make it suspect. Far to the left, a small, hobbled halfling watches greedily as a slender female elf is being roasted alive in the foreground. The unfortunate spectacle must be thanks to a human wizard standing near the rear, whose flame-enshrouded hands stand out amidst the haze.

In the Common language, it reads:

"Collaboration I, 51170520" -- by Naamit Braggiani

an elaborate gold-framed painting

The description of this image is unavailable.

In the Common language, it reads:

"Handsman I, 51170520" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The gaping maw of an undead hippopotamus consumes the majority of the image. In place of the typical flat teeth are rows upon rows vicious incisors upon which a fat, bloated tongue lays listlessly off-center. Treated with high gloss, tendrils of dark fluid trickle from its slack mouth. A web of cartilage and rotting flesh hangs over its upper jaw representing what once was a snout.

In the Common language, it reads:

"Curious Creature I, 51170521" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. It features the visage of a young gnome, however a crazed rolton with snakes for horns gnaws at the man's riotously curled hair. Stubby fingers stretched upright before him, the subject's attempted jab is suspended mid-attack. Whether the strike would make purchase at his own forehead or that of the creature's is unclear; twisted cloth adhered across the figure's eyes distorts the perspective.

In the Common language, it reads:

"Curious Creature II, 51170522" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The rear view of a robust elven man is depicted in desolation without background nor context. His arms and legs are stretched mercilessly wide at angles slightly off from each corner of the image. The man's head is shorn and hangs listlessly. Heavy stippling in a high gloss is splashed across the subject's back, while dark tendrils encircle each leg, licking at his hips and posterior.

In the Common language, it reads:

"Subject I, 51170526" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. It is a desolate and isolated scene composed of a man kneeling, with head bowed. The background is dark, while a hazy ray of light filters down to highlight the man's bare back. His flesh is crisscrossed with terrible scars. Just barely visible in the shadows is the faint outline of a pair of eyes that are directed toward the subject.

In the Common language, it reads:

"Subject II, 51170528" -- by Naamit Braggiani

an elaborate gold-framed painting

The horizontal, oval-shaped painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Tall and short, a woman and man are facing each other, necks outstretched yet devoid of emotion. The young half-elven woman's flesh is heavily scarred and a large black bird is crouched on her back. Meanwhile, the dwarven man's shoulders sag under the weight of a massive horseshoe hung around his neck. Matted into the surface of the painting are gobs of dark red hair.

In the Common language, it reads:

"Symbols I, 51170601" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Posed back to back, a youthful woman and a skeleton stare blankly outward. The maiden is all but naked and holds a small flower over her breast in one hand while the other is cupped over her groin in a gesture of modesty. The skeleton is missing the lower half of its jaw and worms crawl beneath its weighty robe. A serpent reaches from the gaping pit above its collarbone.

In the Common language, it reads:

"Impermanence I, 51170616" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Sad and dejected, a pair of small puppies are depicted as huddled masses in the corner. Devoid of flesh, their vertebrae poke through creating a pair of curious arcs leading toward the center of the image. A sole carrot lays at the foot of each beast, utterly ignored. Behind the pair, four moons varying in size cast chaotic light and shadow upon the unfortunate scene.

In the Common language, it reads:

"Curious Creature III, 51170622" -- by Naamit Braggiani

a scalloped ivory-framed painting

The painting is a mostly monochromatic red and depicts a small garden bower in excruciating detail. The foreground shows a regally dressed elven woman in a grievously crestfallen pose. With hands clawing at her belly in anguish, she stares at the mangled corpse of a male elven infant laid in the lush grass. Behind her stands a robed elven man, one hand on her shoulder, as if in consolation. Yet a slight smirk cracks his lips and unlike the rest of the image, his eyes yield a curious violet gleam.

In the Common language, it reads:

"Ritual Dreaming I, 51170901" -- by Naamit Braggiani

a scalloped ivory-framed painting

The painting is a mostly monochromatic red and depicts a small garden bower in excruciating detail. The foreground shows a regally dressed elven woman perched almost meditatively in the lush grass. Her eyes are glazed over and gazes off into the distance, as if in an uncontrollable trance. Before her kneels a robed elven man in three-quarter pose, both hands held in hers. His lips are slightly parted and unlike the rest of the image, his eyes yield a noticeably violet gleam.

In the Common language, it reads:

"Ritual Dreaming II, 51170901" -- by Naamit Braggiani

a scalloped ivory-framed painting

The painting is a mostly monochromatic red and depicts a small garden bower in excruciating detail. A robed elven man kneels in three-quarter pose, cradling the lifeless body of an elven woman. Her regal dress is intact, but horribly stained in the same sanguine shade that bathes the lush grass surrounding them. A gash across the neck exposes her trachea as her head hangs unsupported. A hint of a smile traces his lips and unlike the rest of the image, his eyes yield a malevolent, violet gleam.

In the Common language, it reads:

"Ritual Dreaming III, 51170901" -- by Naamit Braggiani

an elaborate gold-framed painting

The etched print on rag paper is mounted bare within a vertical frame, hand-torn edges visible. Rendered in fine intaglio, the monochromatic red image depicts a half-elven woman with curled tresses gazing down from the second story balcony of a veranda. She holds one hand to her breast in a gesture of modesty, and the other aloft, fingers curled with invitation. Heavy hatching yields shadows on the skirts of her gown between the balusters, each rung a slender twist of alternating pigment and white space.

In the Common language, it reads:

"Professional Courtesy, 5118

Landscapes and Still Lifes

A Bench Painting

Slanted at an angle with no regard for perspective, the bench on the canvas would likely roll its occupants to the ground were it real.

In the Common language, it reads:

"Sit With Me" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A ribcage and spine, devoid of meat and organs, grace the center of the canvas. The vertebrae are assembled in a crooked fashion while the right ribs are bent outward at an unusual angle. A deflated assemblage of what might be skin is piled at the bottom of the image alongside a trail of viscera. Bone shards are carefully arranged along the painting's golden frame.

In the Common language, it reads:

"Inside I, 51170507" -- by Naamit

an elaborate gold-framed painting

This artist's proof is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Focused on a massive vat, only the matted scruff of a creature's head is visible above the steaming, burbling surface. A small, withered arm several missing fingers is flopped lifelessly over the edge of the vessel. The foreground is taken up by vaguely rendered heaps of herbs, an assortment of butcher's knives, a pair of wine glasses, and an artfully posed dead hare.

In the Common language, it reads:

"Cover for Cookbook, 51170520" -- by Naamit Braggiani

an elaborate gold-framed painting

Puffy clouds treated in a scumbling technique grace the rich, gradated sky of this monochromatic red landscape painting. Pale-peaked, heavy upward-swooping strokes suggestive of a mountain range dominate the middle ground, while a plethora of stick-like trees and spindly spires take up residence in the lower portion of the image. A trail snakes through all three, culminating with a fiery setting sun, just visible at the mountain pass in the center of the image. :In the Common language, it reads:

"DragonSpine Sunset I, 51170523" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The still-life represented is anything but alive: a bleached elven skull in the center-left of this rectangular painting has a massive hole punched in where its left eye socket used to be. The skull is surrounded by an assortment of half-eaten and rotten food. Behind the gruesome display stands a diminutive vase holding a nondescript, ecru parchment flower adhered to the surface of the painting.

In the Common language, it reads:

"Impermanence II, 51170620" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Set beneath a domed enclosure cut from the native rock of the mountain, the floor is perfectly smooth but its vaulted ceiling is chiseled in a complex webwork of arches and flying buttresses. In the center of the room sits a solitary, sleek stone altar bathed in a cool blue light. Illuminated upon the onyx slab is a crumbled pile of what can only be deathstone.

In the Common language, it reads:

"Adventure I, 51170707" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Set beneath a domed enclosure cut from the mountain, the floor is smooth. Its high ceiling is chiseled in a complex webwork of ribbed lancet vaults while flying buttresses are barely visible in the shadows of the outer aisle. In the center of the room stands a solitary, sleek stone altar bathed in a hazy light that radiates from above. Illuminated upon the onyx slab is a smattering of bones.

In the Common language, it reads:

"Adventure II, 51170708" -- by Naamit Braggiani

Experimental an elaborate gold-framed painting

The three-by-three square painting is a mostly monochromatic, murky sanguine hue. Silhouettes of shattered swords and shields are scored one over the next in the highly texturized artwork, revealing a confusing underpainting of black and white striations. High gloss tracery along the edges of some shards makes them visually pop amid the geometric chaos. Two tally marks in thick-bodied raw sienna stand out in the lower left.

In the Common language, it reads:

"Vibrato I, 51170430" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The landscape image closes in on a defaced stone crest of the House of Illistim. The veiny, marble symbol is in three pieces; the first is heavily scored, the second seems scorched, and the third portion is speckled with a deep sanguine. Gravel ground surrounds the ruined medallion, which leads off to the distance where chunks of stone are strewn about in this scene of mass architectural destruction.

In the Common language, it reads:

"Vibrato II, 51170513" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A woman's round, closed-eyed visage hangs immediately beneath the conjoined bough of two haphazardly drooping yews. The trees' roots climb back upward with long, crooked appendages that grasp for the curiously suspended face. A stream of tiny ravens swoop out from beneath the moon, skirting between the scraggy woody fingers and right toward the foreground.

In the Common language, it reads:

"Lucidity I, 51170505" -- by Naamit

an elaborate gold-framed painting

The artwork is a composed of flexible willow switches wound and manipulated one over the next in a web-like lattice suspended in thick layers of crimson beeswax. A convoluted motif of chevrons is carved back through the wax in low bas-relief, which culminates in the lower left where a shriveled, sickly blossom is embedded deep within the image's honeyed surface. The golden frame is heavily abraded.

In the Common language, it reads:

"Waning I, 51170507" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The image is composed entirely by the luscious splay of petals from some unidentifiable flower that is cupped in a pair of large, strong hands. Each finger is curled almost delicately beneath a given petal while the thumbs are pressed firmly and purposely against those in the foreground, creating a nubby bow to the otherwise symmetrical bloom.

In the Common language, it reads:

"Bloom I, 51170520" -- by Naamit Braggiani

an elaborate gold-framed painting

More low-relief mix media artwork than classic painting, several pieces of hand-torn, dingy rag paper are adhered to the canvas's matte black surface in a radiating pattern. The layers are pulled back at irregular intervals, suggestive of a flower in bloom. The petal-like sheafs of paper surround a vertical gash cut right through the middle of the canvas. Dripping gobs of crimson wax and bronze threading stitched about the hole discourages fraying.

In the Common language, it reads:

"Bloom II, 51170528" -- by Naamit Braggiani

an elaborate gold-framed painting

The tall, vertical painting is monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A heavy-bodied motif of deep convex arcs built up one over the next yields a scale-like backdrop. The slender silhouette of a scythe is scratched back through the surface, revealing a tenebrous underpainting of wavy, interwoven ribbons. Twenty one pale motes grace the turbid scythe's long, curvilinear blade to form a skewed rendition of the constellation The First.

In the Common language, it reads:

"Beyond The Pale I, 51170521" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Piled high with gravelly paste, eight diagonal gashes a finger-width apart sink into the artwork's surface revealing an underpainting of sickly yellow-grey. The abrasions are treated with a high gloss on the lower edges and dark matte paint on the upper ridges to enhance the perceived depth of the markings. The image's gold-painted frame is blemished by a myriad of bite marks, no two the same.

In the Common language, it reads:

"Feed I, 51170529" -- by Naamit Braggiani

an elaborate gold-framed painting

Thirteen small, umber brown bean-shaped silhouettes are arranged in a horizontal wave pattern in the center. The raw, unprimed canvas is treated with a faint under-painting of ochre yellow wash. A broad and bold stroke of alizeran orange stretches from left to right behind the brown shapes. The gilt golden frame is built up like a staunch perimeter around this colorful, yet rather barren painting.

In the Common language, it reads:

"Color Study I, 51170715" -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is a mostly monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. To say there is any sort of scene might well be an exaggeration. Slightly off center-left, the faintest shadow of a dark red outline forms a skewed square. Within the form, a wash of pale carnation dominates the upper half, gradating smoothly downward toward a deep, dark sanguine which halts in a sudden line at the bottom of the shape. The background is a glossy wash of incarnadine, reminiscent of blood dribbling from a ragged, free-flowing wound.

In the Common language, it reads:

"Color Study II, 51170901 -- by Naamit Braggiani

an elaborate gold-framed painting

The painting is four by four, with tall ridges rising beyond the canvas's surface and highlighted in ghost white and cool grey. In between, deep clefts of coal and blued black provide a greater sense of depth. Inching toward the center in an increasingly jagged composition, the lines converge and bind ever narrower around shape of a small tear, positioned slightly off-center and to the lower left. The droplet reveals a rich backdrop of red, painstakingly excluded from the furrows enclosing its form.

In the Common language, it reads:

"Color Study III, 51180603" -- by Naamit DMVMD-Braggiani

an elaborate gold-framed painting

Four by four, the canvas is striped in ochre, transparent yellow oxide, azo yellow, and warm sepia, smeared vertically from top to bottom. Its darkened underpainting in hues of alizarin and umber are revealed beneath rounded pockmarks pressed into the surface, their raised edges frozen in gooey formation. A splatter of reddened burnt orange, reminiscent of fresh blood, coats the center of the painting without any apparent rhyme or reason.

In the Common language, it reads:

"Obstructed Opportunity, 5118" -- by Naamit DMVMD-Braggiani

an elaborate gold-framed painting

The painting is four by four, with a mostly monochromatic image laid forth in a confusing mess of umbered, alizarin hue. Smears and handprints saturate the unprimed linen canvas, each stroke bereft of rhyme or reason. Rivulets of crusted color (or is it dried blood?) descend from the more solid swathes, reconverge and then split again, as one runnel intersects with the next toward the bottom of the artwork.

In the Common language, it reads:

"Birth of a Harbinger, 5118" -- by Naamit DMVMD-Braggiani