Lilanyotik

[hlee-lang-YOH-tick] : The Green Guardian

Sometimes called "The Guardian's Eye" for its distinctive stripes (sometimes cut to form circular bands around a central spot), the precious stone Lilanyotik is a favorite of artisans, merchant classes, and the Followers of Corvus.   It is primarily associated with Flock Aniza and the western rises of Ochi Ohkanska.

Properties

Material Characteristics

Lilanyotik is recognizable for its distinctive banding and rich green hues.   Ranging from a light green to a dark (almost black) green, its color is influenced by the copper that, when the mineral ore is smelted, is produced.   It is usually opaque. However, in stonework, the very fine and thin sheets can be translucent in the light, filtering a gentle light in yellow-green to green hues.   Though it is still considered a luxury item due to its limited sources, overall Lilanyotik is a common byproduct of copper ores and minerals, and forms relatively quickly (at least on a geologic scale). Less common are the "feather" variants, which are angular crystalline formations arranged in tufts, rosettes, or fans.   Lilanyotik is related to Htonyotik, which is similar in appearance and property, but manifests in ranges of blue. Sometimes, stones are found that are striped in both.

Physical & Chemical Properties

Lilanyotik is a soft gemstone, making it easy to carve and polish, but also easy to scratch, crack, or discolor. Because of its "eld nature," it is sometimes covered with a thin layer of wax (for transport) or resin (for long term use) to protect it.   Because the softer stone can be porous, urine and other ammonia will discolor it. It is sensitive to heat, acid, and very hot water.

Geology & Geography

The most prolific mines of Lilanyotik are located within Ochi Ohkanska, specifically within the Western Flat. A minor mine exists at Kobreh Hcihce in the southern Ochi Oxta region, and another at Oro within the high central area of Ochi Maninhka.   As Lilanyotik is only found in the limestones of southwestern areas, it is a popular import item to the Northern protectorates.

History & Usage

Everyday use

Because of its fragile nature, ancient Lilanyotik artifacts are relatively rare, except in the most of well-preserved cases. As a contemporary medium, though it is relatively common in the southern areas, large pieces of the stone are still considered precious crafting material, reserved for the most talented of artisans.   Coarsely powdered, Lilanyotik is sometimes ground into a lightfast pigment, generally applied as stonework or canvaswork paintings. Prepared in this way, it produces a range of lush, verdant greens, while its sister stone, Htonyotik, creates the gorgeous green-blue of deep waters. Artistically, the two are favored in use in the same work, for their "conversation of elements." As a painting pigment, it is traditionally held for senior artisans.   Smaller pieces are common as jewelry, though their creation is still handled by senior artisans. Quantities of smaller, lesser grade Lilanyotik are ground into cosmetic powders.

Cultural Significance and Usage

Mythological Truisms in Ni'Kashiga Birdfolk Culture

Because certain cuts of the stone can create a banded "eye" shape, Lilanyotik falls under the generosities of Corvus. As a symbol of her guardianship (and, practically, due to its softness) it is believed that a stone worn in jewelry, when it senses danger, will crack or shatter in order to warn the owner. Others claim that the crack is protective rather than prophetic: that the stone has taken an evil intended for the wearer, instead. In still other stories, the stone is believed to protect the wearer from falls, and is popular worn among climbers (to protect against physical falls) and among merchants (to protect from economic drops).   As a fine powder, it is often applied around the eyes as ornamentation. In a practical sense, the use serves in reducing the glare of the sun, and the metallic ions of the high copper content serve as an antibacterial agent, protecting the eye membranes of the Ni'kashiga from infection.  

Symbolic Purposes among the Northern Walkingfolk

The practice of wearing pigment in this manner is also common in Southern Walkingfolk traditions, particularly among the traveling merchant class within caravan. However, due to the copper content, long term exposure is toxic to Walkingfolk; the use is most common among younger members, while older members are expected to promote out of the constant travel, and thus out of the need to wear it. Instead, among older, stationary members of the caravan class, Lilanyotik is worn as jewelry instead, usually in a configuration that avoids regular contact with skin.

Hazards

Due to the copper content, Lilanyotik and its sister stone, Htonyotik, are toxic to Walkingfolk over prolonged periods of exposure. Due to the ease in which Lilanyotik can be absorbed through skin contact or inhaled as powder, Walkingfolk generally do not work either the mines or the Cobreh refinement facilities.   Among Ni'kashiga Birdfolk, ingestion of Lilanyotik can also prove poisonous, causing lethargy, weakness, depression, anema, seizures, and eventually coma. It is said that in ancient rivalry between early Yumani, members of Flock Cochimi would use ground Lilanyotik and Htonyotik in food and thick beverage to slowly poison key enemies, a tactic of "letting the Cobreh eat them slowly."

Distribution

Trade & Market

Dispersal of Lilanyotik is primarily mined and supervised by Flock Yumani. However, due to its purposes as an ornamental, worked stone, the association is strongest with the artisans of Flock Aniza.   It is also prized among the Followers of Corvus, and among the North for its green color, trued to the direction of Peak.

OUTBOUND SIGNIFICANCE

Artifacts referencing Lilanyotik include:
  • Day 83 of the 100 Days of Oce, 2019
  • The Archeological Association (Modular Art Pod), 2019
  • forthcoming/untitled collaboration with Carrie Cox, 2018-2019
Influence for Lilanyotik includes:
  • Color: A Natural History of the Palette, Victoria Finlay
  • The Turquoise: A Study of its History, Mineralogy, Geology, Ethnology, Archeology, Mythology, Folklore, and Technology, Joseph E. Pogue, PhD
  • Malachite Symbolism, Fara Braid, for the International Gem Society
  • Malachite, Mindat.org
  • Mama's Minerals, Albuquerque, New Mexico, USA
Type
Stone
Rarity
Precious
083/100 : Part of the #100DaysofOce series, 2019


Comments

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Jul 3, 2019 01:56 by Jaime Buckley

Okay, first off, I have never had much of an interest in ores and such and have often avoided writing about many aspects in my own worlds--but you fascinated me. First, I love the color green, but it was funny as you describe ancient Lilanyotik artifacts and how Lilanyotik is so soft, and I start wondering, "Well, why not ground it up and use it in art then?"   BAM, that's what I read.   Now, I was thrown for a moment when I read about urine...and instantly wondered how that was discovered??   Most of all? I wanted links to the Birdfolk and Walkingfolk.   You got me hooked--couldn't find any faults or corrections, other than I'd love more pictures/sketches, maybe OF the Birdfolk and Walkingfolk?

JAIME BUCKLEY
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Jul 3, 2019 02:44 by M Kelley

Haha! You're right on the urine bit, coming out of the blue: I'd been reading about the mineral it is based on (malachite) is harmed by ammonia...and trying to think of natural sources of ammonia...so, hence, urine! I guess you could say that critics of art can be, uh, harsh! But you're right...it could use a little more lead-in.   And yeah, there's a lot of overarching structure that shows up in other places (the game website, instagram) that hasn't made it mirrored here yet. I have a lot of additions (or at least placeholder texts) to drop into WA. And I think in the long run this article can benefit from examples of stonework or artwork that uses lilanyotik, or perhaps a Walkingfolk Caravan Merchant with adornment around their haggard eyes.   Thanks for taking a look, and for the thoughts! Super appreciated.

Jul 3, 2019 02:32 by Polina "Line" Arteev

This is a wonderfully detail-rich article -- what got me the most was, I think, the mythological truisms. Even discussing two different perspectives on what the cracking of the stone meant (protective vs prophetic) brings so much richness to the world. People in our world think differently about the same thing all the time!   After reading through the hazards section, I did begin to wonder. If this mineral is so well-known as a poisonous substance, and especially with its known history, is it controlled in any way? Can it be (/ would it be reasonable to do so)? What conflicts might it continue to cause in the wrong hands?   Just food for thought! Otherwise, a lovely read. Definitely a level of attention to detail to aspire to in my own articles!


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Jul 3, 2019 02:49 by M Kelley

Thanks for this feedback! You're right: I can allude more directly to the control of the mineral among Flock Yumani and Flock Aniza (at least in some forms), and address perhaps ways folk have found to avoid being poisoned over long periods by ruthless enemies.   And thank you for the kind words! The mythological truisms are actually influenced by stories in our world about similar stones, with an Inbounds flavor; I love as a writer being able to reflect that these folktales would have been passed through the ages even to the eras depicted here, and the act of preserving these indigenous tales in a renewed history.

Jul 3, 2019 03:32 by mashley310

This is a really interesting article! I was especially interested in learning about how your different cultures used Lilanyotik. It's crazy to me that the material is toxic to Walkingfolk, yet they still wear it on the chance that it protects them from something bigger. Superstition is powerful! (Unless, of course, it actually works, in which case, that's also interesting!)   I also think it's cool that you included a song in the sidebar; I haven't seen too many articles using this feature. I was interested in knowing exactly what the significance of the music was to Lilanyotik - was it just intended to be mood music or is it part of a tradition associated with the stone or something else?