Vědanica

The Grand Duchy of Vědanica is a fairly reputable nation located within the Empire of Ischanor (named Iszkanor, in the native tongue), near the western border, and is ranked as an Archduchy within the empire but chooses to distinguish itself by referring to itself as a Grand Duchy. It is ruled by Grand Duke Radigas of [House Rydani] and his wife, the [Grand Duchess Varenna]. Currently, the nation is growing decently and is prospering within the empire, presently experiencing the Golden Age of Vědanican Culture, a period where Vědanican art has significantly developed and spread to all corners of the empire.

To put it briefly, the people of the nation arrived during a series of battles named the Skirmishes on the Western Border, which was the migration of the Ojszari people to the lands surrounding the old Vinitican empire. Many years later, they became vassals within Ischanor. However, they had not really achieved anything of note or importance until the ascension of Radigas to the throne of Vědanica, with his actions completely renovating the nation and elevating it to the status of being a Grand Duchy.

Etymology
Vědanica (VYEAH-DAH-KNEE-TSA) is named after the luscious fields of red poppies that surround the realm, with the name quite literally meaning 'Poppy Field', though people translate it as the 'Land of the Poppies ' often. Since the settling of the people there, they have referred to the land as the ‘poppy field,’ however Vědanica was not the actual name of the realm until Grand Duke Radigas’ ascension to the throne, and his later reforms.

Poppies have become an important cultural symbol, symbolising the remembrance of the dead, honour and nobility, as well as chivalry. This has happened due to the fact that the original Vědanicans that settled down had done so on the fields of their slain brethren, allowing their memory not to be forgotten as their blood fuels the future, where the poppies grow.

Flag
The flag of Vědanica is full of symbolism, the features of it in heraldic blazoning are as follows;

Gules, a field of red, bordered Or, a circular escutcheon Or charged with a spiral pattern proper, ensigned with a poppy flower

In other terms, there is a red background with a yellow border with a yellow, round shield with a spiral pattern. where a red poppy rests

The red serves to symbolise the blood-stained fields of poppies, though it is also in the tint of imperial red to designate royalty and legitimacy, as well as loyalty, while the colour yellow that is present on multiple parts symbolises prosperity and wealth. The yellow shield itself symbolises how Vědanica is located on the north-western border of Ischanor, serving as a first line of defence against would-be attackers and is also in the style of the old shields of the Rydani tribe, representing their legacy, with the shield being wrapped in vines to display the unity of the Vědanican people, while the centerpoint of the flag- the poppy, rests on the shield, the most key cultural symbol of the Vědanicans

Prehistory
Prior to the arrival of the Ojszari to settle Vědanica, the land that existed prior to the state’s foundation was barren and empty- it's only inhabitants being the shrubs and wildlife living there, it was unsettled yet in fact quite fertile, taking into account the river and the cove, however it would have been quite hard to defend so it was practically useless to Vinitica, so consquently they left it unsettled, later after the arrival of the Ojszari, the surrounding lands were quickly cultivated and settled.

In a broad overview of the region, these lands have always been inhabited by Proto-Aysar, whose language has later diverged into numerous branches such as the Proto-Ischanori and the Proto-Ojszari. The Ojszari themselves stayed mostly in the region, later migrating towards the east, but a few generations ago an unknown reason had compelled the Ojszari to migrate back to the region that they had originated from, also bringing with them their faith that is very different to the [Ischanori Church].

Early History
The early history of Vědanica is rather well-documented, this is mostly due to the aid of imperial scholars that visited the tribes and documented them and their oral histories after they settled down. Not much is known about the Ojszari people prior to the migration though unfortunately, many sources contradict each other and claim to have the true reason for why the Ojszari migrated eastward, making it quite unlikely that the factual reason will be discovered any time soon.

An Account of the Exploits of Moriwin, written by Grand Duke Radigas Rydani
“Vědanica, o' Vědanica, my heart will always belong to this soil of my forefathers. The land of our people, the land where their blood was spilled. The Land of the Poppies.

It is well known by common-folk and scholars alike that an ancestor of my own lineage, the now-renowned House Rydani, took part in the Skirmishes on the Western Border. This man was the well-known Moriwin, often dubbed 'the Stalwart' or ‘the Falcon’, of the Rydani tribe. A cunning individual who weaselled his way into the emperor's favour¹. Yet, one as myself can appreciate his ambition. It is through his actions amongst other tribe leaders of the people that we have now secured a place within the Empire of Ischanor. Integrated, yet unbroken. Our people remain fiercely independent regarding their faith and practices, for we are proud to be Vědanicans and Children of Diena.

It began in the west. That is known as a fact, though what was the cause of this grand migration is heavily debated between imperial scholars. My father claimed that the cause was due to a more bellicose set of tribes who decided to force us from our lands, though I am sure this was only one of numerous reasons. United by faith, our people ventured east, the holy direction, where it is said that the first two individuals of our culture consummated their marriage, beneath the Tree of Diena. Though, that would require another document to explain the events as for now we are focused on the exploits of Moriwin and his people. He led the Rydani across the numerous landscapes, a true leader, thus making people see him as a falcon, a symbol of leadership amongst our people. Unknown it is how long they travelled, the most reliable sources state roughly between a few months to a year. Suddenly, a sleek, towering greyness. What were these sculpted mountains, towering above the little ants imposingly? A new innovation. Stone walls. These people had not interacted with such an advanced civilization in the past. A volley of arrows over the walls, a dozen dead. The people fled into the forest, not knowing their next move.

Out rode a charge of mounted cavalrymen, sword in hand. They waited in the forest for night to fall, and then they charged. The bleak night was filled with screams of pain, the sky alight with flame and the ground stained with blood from the slain soldiers. This was the first of many skirmishes that happened between our people and the soldiers of Vinitica. The losses were rather one-sided. Many tribes gave up, fleeing to different directions, we do not know if they survived. Those who remained, such as the Vědanicans and the Brejszniki, settled in the area, after tiring Vinitica of its manpower.

The most well-known figure of the tribes was Moriwin, who approached the emperor with the idea of offering tribute himself after learning the basics of the Imperial language. The emperor accepted, and Moriwin swore his loyalty begrudgingly, though saw how great of an opportunity this was for his people. There was one condition; for his people to be allowed to continue living on those former fields of battle, where the poppies lay. The remnants of the past, now fuelling the farms of the future. The points where the bodies fell, poppies bloomed with colour. So it was done. The Land of the Poppies- Vědanica, more literally meaning poppy fields, had been now created and settled, a place for our people, though Moriwin faded into the annals of history, with my ancestors claiming descent from him. So it comes now to describe the coat of arms that I have chosen for my own house; a red background, to represent the blood-stained fields of poppies, though in the tint of imperial red to designate royalty. In addition, the peculiar symbol of the double-headed falcon, which puzzles many people. It was chosen to symbolise Moriwin's leadership, yet why the two heads you may ask? The falcon itself represents Moriwin, who is often depicted as a falcon as falcons are a symbol of leadership within our culture, while the two heads have multiple meanings. One head sees to the west, where the sun sets, where the past resides, the legacy and life of Moriwin. The other looks to the east, the future, where the sun rises and where the empire was found by the people, a new life for Vědanica, yet it also represents myself, bringing new life to Vědanica, a reinvigorated identity. Two falcons who oppose each other, yet are the same.

Whilst this concludes the short account, I would like to add some additional notes. When I was younger, my father had repeated the account numerous times. It was only when I was older that I asked the question "Why did Moriwin take his place under the empire, why did he not travel away with the other tribes, and why did he betray his core beliefs?". My father calmly replied by stating this; "The humble calf suckles from two mothers". I believe these words accurately describe the attitude of our people, we are humble, we know who we are, yet we know what we are worth. We persevere and adapt, we stay true to our nature, but we accept change. That is who we are, for we are Vědanicans.”

¹ Despite this description and many Imperial scholarly sources depicting Moniwid as a small, frail man, most Vědanican sources depict him as an imposing, well-built man.


 * Grand Duke Radigas Rydani

After settling down following the Skirmishes on the Western Border, the people were mostly ignored and viewed as simple-minded barbarians who they were forced to live with, ‘House’ Rydani was regarded as a family of upstarts who weren’t able to even control their own people, and the duchy was in general taken unseriously by anyone within the empire.

Geography
Presently, Vědanica is situated in the North-West of Ischanor, directly laying on the northern border as well. It borders the Kingdom of Lisvar and the Crown of Selroa, with unclaimed wildlands to its west and north. The excellent geography of the nation has proved to be a significant boon. Its actual terrain features rolling fields of plains and forests, with a mountain range to the east, acting as a border between the Grand Duchy and Lisvar.

Government
The government of Vědanica is a fairly standard medieval government. The highest source of authority is the Grand Duke, second only to the Emperor of Ischanor himself. The Grand Duke surrounds himself with a Royal Court, and within that court an even smaller Privy Council of his most trusted advisors, including the Minister of the Treasury and the Justiciar, for example.

Additionally, Vědanica also features a constitution which illustrates the laws of the land, in accordance to the [constitution] and laws of Ischanor itself.

Diplomacy
Vědanica keeps many ties with other nations, it aims to stay on positive terms with all Ischanori vassals, however it has formed close bonds with certain individual subjects. Two of these fellow subjects that it has made acquaintance with are the [Sublime Duchy of Tsiladen], the [Archduchy of Selidoar] and the [Archduchy of Marisvalor]. Beyond the empire, Vědanica also seeks to be known on the world stage as well, often hosting banquets where the Grand Duke invites many notable individuals.

The Grand Duchy also has its own subjects, these being as follows;


 * The County of Crusca
 * The Barony of Brejsznik
 * The Barony of Vryland

Each of these vassals loyally serve the Grand Duke, as well as His Grace, the Emperor, as well. They maintain some levels of autonomy, however they still adhere to the laws of the Grand Duchy.

Culture
Vědanican culture is characterised by numerous festivals, traditions, dishes, beliefs and more. Vědanican culture stems from the original Ojszari culture group, a rather humble group of cultures as most of them have died out or been assimilated. The Ojszari linguistic group emerged from Proto-Aysari, diverging and becoming vastly different from their Imperial Ischanori brothers.

The Golden Age of Vědanican Culture
This is a period which is characterised by a resurgence of culture within the empire, spearheaded by an evolution of culture within Vědanica. Previously being just a group of villages with no real organisation, Grand Duke Radigas has transformed the entire duchy into something truly wondrous- a truly Grand Duchy. The people who were previously regarded as simple barbarians who don’t belong in the empire, now being seen at the frontline of Ischanori cultural development.

Art
Perhaps the greatest of achievements that has been developed in this period is the new standard and style of artwork. The most contributing factor to this development is most definitely the Grand Duchess Varenna. Despite Grand Duke Radigas’ efforts to revitalise Vědanican culture, it most definitely would not have been possible without her input. Her passion for the arts and her dedication to the portrait depicting the Grand Duke left him infatuated and inspired to become a patron of the arts, recruiting and offering patronage to numerous bright artists of all types around the Grand Duchy and inviting them to his court. This melting pot of ideas has blossomed into glamorous and delightful iconic artstyle which has cemented Vědanica’s capital, Vědratzyn, as a beacon of cultural innovation within the empire as numerous artists present in the courts across Ischanor are of Vědanican origin, with the Grand Duchess Varenna being offered to depict the Emperor Kanasky Toss himself in a portrait, greatly increasing the relevance of the Grand Duchy within the empire.

Architecture
Another new innovation in Vědanican society is the style of architecture. Grand Duke Radigas has taken to inviting both native and imperial architects to completely redesign the architectural style of Vědanica, with most of the non-native architects coming from their good friends of the Sublime Duchy of Tsiladen as well as some from the Archduchy of Beloslavia.

Economy
Grand Duke Radigas has seeked to deepen the relation between the government and the merchant class, to this aim, he has formed and bestowed numerous new roles that will aid him and his court in ruling the nation, such as the Minister of the Treasury, the first and newly-chosen one being [Arnosz Haronta],

Arnosz Haronta has developed a unique economic system that partially reformed Vědanican feudalism to what seems like early capitalism, and from an outside perspective, may seem unnecessary or complicated, but has aided to the economical growth of Vědanica. Arnosz has laid the foundations for a future strong economy for the nation, allowing it to thrive into the economic heartland of Ischanor that it is destined to be.

Childhood
From birth until they are thirteen, Vědanican boys and girls are educated together by their mother. Their mother teaches them basic skills for maintaining the household and family such as how to prepare food and what herbs and mushrooms they can and can't eat, amongst other things, however that does not mean that their father is never present, he simply does not teach them. While the boys are still being taught by their mother, they do not cut their hair and keep it long, like the hair of their sisters. It is only until male Vědanicans reach the age of thirteen and begin education with their father do they cut their hair, as a mark of adolescence, during a festival, which differs from town to town and may have a simple feast be held or have the young adolescents hunt their first game.

Female Adolescence
After the adolescence festival, girls may choose to stay with their mothers and continue to be taught skills necessary for the house and how to be a good wife for their future husband, or they may instead seek a more spiritual path in the faith of the people. However, those who become involved in the religion may still be allowed to bear children.

Male Adolescence
After the adolescence festival, when the boys have cut their hair and have rested, they begin their education with their father into the career of their family, or they may start a full apprenticeship with a mentor, this option is popular amongst the merchant class. Males are also allowed to become involved in the religion but due to societal standards not many choose to do so.

Festivals
There are numerous festivals present within Vědanican society, many stemming from traditional festivals that originated from the Ojszari tribes, with others being more recent creations that come from historic events.

Festival of Red Veils
Otherwise known as Poppy Day or the Festival of Remembrance, the Festival of Red Veils is a day for all Vědanicans to reflect upon the past, to be thankful of where their ancestors brought them and to be reminded of the courageous fallen that have given up their lives for the continuous existence of Vědanica and Ischanor.

Origins and Significance
The name comes from the fact that all who participate in the event wear a piece of clothing that is red, either making their whole clothing for the day be red or just one piece of clothing. Women typically wear a red headscarf or braid a poppy into their hair, or simply wear a decorated red skirt, whereas men usually only paint their faces red in specific patterns. These markings most likely come from the warpaints of the Ojszari that would often be painted on their faces

Ceremony
On the day,

Female Festival of Adolescence
The festival for adolescence for Vědanican girls is a significant celebration in the cultural traditions of the people as it marks the transition of young girls into their womanhood, being a time of joy, reflection, and growth. The festival holds immense importance in the community, alongside the male version, symbolising the journey of young girls as they embrace their changing roles and responsibilities within the society. It is important to note that the festival begins at the beginning of the year when they reach the age of thirteen and all girls born in that year take part, it does not take place on the girl's actual birthday. Many Vědanican women choose to devote themselves to the Vědanican faith, sometimes refraining from marriage as well.

Origins and Significance
The origins of the festival are traced back to the original Ojszari that settled in the lands and the festivals celebrated in their tribes; it is generally accepted that it first developed when the people recognized the importance of guiding young girls through their transition into womanhood. It is believed that the festival was established to celebrate the physical, emotional, and spiritual growth of young girls, as well as to impart wisdom and cultural values that would shape their future as women. This has aided in creating a more equal society within Vědanica.

Preparation and Rituals
Prior to the festival, the community comes together to make elaborate preparations. This includes decorating the village square with vibrant colours, flowers, and traditional ornaments. The now-adolescent participate in special mentoring sessions, where they learn about various aspects of womanhood, such as household responsibilities, traditional arts, and values of their community.

On the day of the festival, the girls gather at a sacred grove or a central location, accompanied by their female relatives, friends, and community members. They dress in traditional attire, often adorned with symbolic jewellery of the Vědanican culture and faith, and also accessories representing femininity and maturity.

Ceremonies and Symbolism
The festival consists of a series of ceremonies and rituals that are rich in symbolism. The girls engage in dances, songs, and storytelling that depict the journey to womanhood. Elders and respected women of the community share their wisdom and experiences, offering guidance and blessings to the young girls.

One of the significant rituals is the "Rite of Passage," where the girls symbolically leave behind their childhood by crossing a threshold into a separate space, often represented by a  decorated tent or a sacred chamber. This act represents their entry into womanhood and their readiness to take on new responsibilities.

Celebration and Community Bonding
The festival is not only a celebration of individual growth but also an occasion for community bonding and support. It provides an opportunity for women of all ages in the community to come together, share stories, and strengthen the sisterhood within the community. Festive feasts, traditional games, and performances are organised to foster a sense of unity and joy.

Legacy
The festival carries a legacy of empowering young girls to embrace their femininity and step into the roles of women with confidence and pride. It instils a sense of belonging, cultural identity, and self-worth in the young girls, helping them navigate the challenges and opportunities that lie ahead.

Male Festival of Adolescence
The male festival for adolescence is also a significant cultural event in the traditions of the people, being much different to the female version but equally as important. It marks the transition of young boys into manhood and serves as a rite of passage for their journey towards maturity and responsibility. This festival holds great importance in the community, signifying the transformation of boys into men and their integration into the social fabric of the society. Same as in the female version, the festival begins at the beginning of the year when they reach the age of thirteen and all boys born in that year take part, it does not take place on the boy's actual birthday.

Origins and Significance
Similar to the festival for the girls, the origins of this festival are traced back to the original Ojszari that settled in the lands and the festivals celebrated in their tribes. The festival was established to celebrate the physical, emotional, and spiritual growth of young boys, preparing them for their roles as future leaders, protectors, and contributors to the community.

Preparation and Rituals
Prior to the festival, the community engages in elaborate preparations. The village square, or a central location, is adorned with symbols of masculinity and strength. Young boys who are approaching adolescence participate in special apprenticeship sessions where they learn essential skills, traditional crafts, and values of their community

On the day of the festival, the boys gather with their male relatives, friends, and community members. They dress in traditional garments and accessories, symbolising their entry into manhood. They may also carry ceremonial objects or tools that represent their future roles and responsibilities.

Ceremonies and Symbolism
The festival comprises various ceremonies and rituals rich in symbolism. The boys participate in physical challenges, endurance tests, and skill demonstrations to showcase their emerging abilities and strengths. Elders and respected men of the community share their wisdom, offering guidance and blessings to the young boys.

One of the central rituals, same as the female ones, is the ‘Rite of Passage,’ where the boys undertake a symbolic journey or perform a significant task that demonstrates their readiness for manhood. This act represents their transition from boyhood to manhood and their commitment to upholding the values and traditions of their community, the tasks vary from tribe to tribe and village to village and may be something such as learning to ride a horse, or hunting their first game.

Celebration and Community Bonding
The festival is not just a celebration of individual growth but also an occasion for community bonding and support. It provides an opportunity for men of all ages to come together, share stories, and strengthen the brotherhood within the community. Festive feasts, traditional sports competitions, and demonstrations of martial arts are organised to foster camaraderie and unity.

Legacy
The festival carries a legacy of nurturing leadership qualities and shaping responsible men within the community. It instils a sense of duty, honour, and respect for cultural heritage in the young boys, empowering them to become contributors to their society and stewards of their traditions.