Kalderani Symbolism
Kalderani symbolism employs graphic marks, shades of grey, and colour, to identify allegiance, social status, and religious affiliation. These symbols were developed during the early history of Kalderesh as the first king and his council forged a new nation.
Graphic marks
Graphic marks are straightforward by design. Complex scutal heraldry (a hallmark of Malanthea) is not used in Kalderesh, with one exception: the design of combat shields used by The Seven’s paladins (see illustration adjacent).
The Kalder Royal House uses a simple K-glyph as a monogram to represent the Kalder family and the kingdom. Historically, when the Kalders were a Malanthean noble house, their colour was red, which is why on some old Kalderani documents and items, this colour is prominent. Today, the royal glyph is sometimes rendered in red, particularly for commemorative purposes.
Formal sigils and holy symbols of the Gods were created shortly after the kingdom was formed, and are still in use today.
Non-religious organizations such as noble houses, guilds, government sectors, and the military, use monograms as identifying markers. These are usually rendered in black on a white or light background. Emblems are rarely used and complex sigils are avoided. Monograms are registered with the Office of Certificates in any large city.
Colour
Colour is used exclusively to show religious affiliation, a major break from Malanthean custom where colour signals which noble house a person is loyal to.
The traditional colours of The Seven, common to all cultures rooted in the Janee, inform emblems, designs and decorations used in the nation. Thus, Sahir is represented by shades of amber, and pitch black is associated with Arawn. The clergy of the Monastery of Salaah have erected hundreds of huge blue flags all over the hills surrounding the monastery and looking out over the sea. Written on each flag are special prayers which the ocean winds keep in constant motion.
Clothing, religion and society
This use of colour to broadcast religious affiliation is perhaps most visible in clothing customs. The most prominent garment (usually the outermost, such as a robe or cloak, but sometimes a form of head wear) is coloured according to the wearer’s religious affiliation.
If the wearer is not an ordained member of the clergy, then the fabric used for this purpose is plain, unadorned by patterns or other embellishment. Official garb of the clergy always has the sigil or holy symbol of their deity boldly worked on the garment, in the fashion prescribed by the organization they belong to.
While the colour represents the deity, the darkness of the colour signals the social standing of the wearer. The lighter the colour, the higher the social standing of the wearer. A high-status Razimite would wear a very light red ceremonial cloak, whereas a low-status Razimite would wear a deep red garment.
It is not mandatory to wear such a signifying garment (except for the ordained, when acting in their official capacity) and most people choose to wear them on formal occasions only.
The ecclesiastical garb of Aranites and Oohmians follows a different pattern, since their divine colours are black and white, respectively. Followers of these Gods wear signifying garments that are either pitch black or pure white, and with the sigil or holy symbol displayed as prescribed. To signal the wearer’s social standing, the garments have exaggerated hems, which are monochromatically shaded: white for royalty, near-black for the lowest classes.
Many shades of grey
The same monochromatic pattern is used to signal the social status of the wearer outside of a religious context. In secular use, nobility would wear an almost-white or very light grey cloak or other prominent outer garment. The lower the social ranking, the darker the garment. As with the religious wear, secular signifying garments are plain, lack all adornments, and are optional to wear.
Garments of mixed colours, or with patterns or other adornments, do not signify social standing.
Hand gestures and sayings
A common hand gesture is the hand wave, in which an open hand, fingers and thumb slightly spread, is raised and moved side to side. It is used by humanoids across Tem, and is not particularly endowed with symbolic meaning.
A modification of this is used in Kalderesh and elsewhere. The left hand is used for this gesture. The thumb is folded in towards the palm and the fingers curled lightly around it, making a closed unclenched fist. The fist is then raised and moved side to side. It is used as a greeting, specifically to someone who is a friend or known associate of positive regard. The symbolic significance of the gesture relates to The Seven.
An open hand, palm up, shows a thumb and four fingers. Between the four fingers are three gaps, giving seven points. These seven points signify The Seven, and little children are taught the names of the Gods by pointing to each point in turn and reciting the God’s name. The thumb signifies humans, folded down in supplication. The curled fingers, covering the thumb, signify the God’s protection. A closed first with the thumb exposed, is regarded as an offensive gesture.
It is common, upon meeting with someone, to greet them with the phrase “May the shade of the Seven’s good fortune shine upon you”. This is usually reserved for formal occassions, and is commonly heard upon entering an All-Gods.
The most formal symbolic gesture, unique to Kalderesh, is known as the Sealing of the Oath. It is performed as part of solemn ecclesiastical rituals, during legal procedures such as contractual agreements, or to bind a marital ceremony. Correctly performing it is taught during coming-of-age ceremonies, which vary by religious tradition and duchal legislation.
As with the customary greeting of a friend descreibed above, the Sealing has religious significance. To perform it, both hands are held out, palms facing, thumbs pointing upwards, fingers open. Note that between the fingers are six gaps. The hands are then brought together so that the fingers can interlace and then close, the thumbs touching side-by-side. The touching of the thumbs closes the seventh gap, symbolizing the unity of The Seven. The touching thumbs represent the unity amongst humans, gathering before The Seven.