Wreath
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A wreath is an assortment of flowers, leaves, fruits, twigs and/or various materials that is constructed to resemble a ring. In English-speaking countries, wreaths are used typically as household ornaments, mainly as Christmas decorations to celebrate the birth of Christ. They are also used in ceremonial events in many cultures around the globe. Wreaths have much history and symbolism associated with them. They are usually made from evergreens and symbolize strength, as evergreens last even throughout the harshest winters. Bay laurel may also be used, and these wreaths are known as laurel wreath.
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[edit] History and symbolism
[edit] Ancient Etruscan wreaths
Wreaths were a design used in Etruscan jewelry, made of gold or other precious metals. Symbols from Greek myths often appear in the designs, embossed in precious metal at the ends of the wreath. Ancient Roman writers referred to Etruscan corona sutilis, which were wreaths with their leaves sewn onto a background.[1] These wreaths resemble a diadem, with thin metal leaves being attached to an ornamental band. [2] Wreaths also appear stamped into Etruscan medallions. The plants shown making the wreaths in Etruscan jewelry include ivy, oak, olive leaves, myrtle, laurel, wheat and vines.
Wreaths were worn as crowns by Etruscan rulers. The Etruscan symbolism continued to be used in Ancient Greece and Rome. Roman magistrates also wore golden wreaths as crowns, as a symbolic testament to their lineage back to Rome's early Etruscan rulers. Roman magistrates also used several other prominent Etruscan symbols in addition to a golden wreath crown: fasces, a curule chair, a purple toga, and an ivory rod.[3]
[edit] Ancient Greece and Rome
In the Greco-Roman world, wreaths were used as an adornment that could represent a person’s occupation, rank, their achievements and status. The wreath that was commonly used was the laurel wreath. The use of this wreath comes from the Greek myth involving Apollo, Zeus’ son and the god of life and light, who fell in love with the nymph Daphne. When he pursued her she fled and asked the river god Peneus to help her. Peneus turned her into a laurel tree. From that day, Apollo wore a wreath of laurel on his head. Laurel wreaths became associated with what Apollo embodied; victory, achievement and status and would later become one of the most commonly used symbols to address achievement throughout Greece and Rome. Laurel wreaths were used to crown victorious athletes at the original Olympic Games.[4]
[edit] Harvest wreath
The creation of harvest wreaths in Europe can be traced back to ancient times, and is associated with animistic spiritual beliefs. In Ancient Greece, the harvest wreath was a sacred amulet, using wheat or other harvested plants, woven together with red and white wool thread. The harvest wreath would be hung by the door year-round.[5]
Harvest wreaths were an important symbol to the community in Ancient Greece, not merely to the farmer and his family. The festivals devoted to Dionysus, the Oschophoria and Anthesteria, included a ritual procession called the eiresîonê. A harvest wreath was carried to Pyanopsia and Thargelia by young boys, who would sing during the journey. The laurel or olive wreath would be hung at the door, and then offerings were made to Helios and the Hours. It was hoped that this ritual would bring protection against crop failure and plagues.[6]
In Poland, the harvest wreath (wieniec) is a central symbol of the Harvest Festival, Dozynki. Wreaths are made of different shapes and sizes, using harvested grain plants, fruit and nuts. The wreath is then brought to a church for a blessing by a priest. The tradition includes a procession to the family home from the church, with a girl or young woman leading the procession and carrying the wreath. The procession is followed with a celebration and feast.[7] Similar rituals were part of several pre-Christian European cultures.
[edit] Advent Wreath
Since the classical use and symbolism of wreaths, the meaning and representation has taken on differing views, depending on the culture. In Christianity, wreaths are used to prepare for the Advent season or the "coming of Christ."[8] The first known association with these now modern day wreaths dates back to the Lutherans in Germany in the 16th century. In 1839, Johann Hinrich Wichern used a wreath made from a cart wheel to educate children about the meaning and purpose of Christmas, as well as to help them count its approach. For every Sunday of Advent, starting with the fourth Sunday before Christmas, he would put a white candle in the wreath and for every day in between he would use a red candle.[9] The Advent wreath is constructed of evergreens to represent everlasting life brought through Jesus and the circular shape of the wreath represents God, with no beginning and no end. The Advent wreath is now a popular symbol in preparation for the coming of Christ, to mark the beginning of the Christian Church’s year and as décor during the Christmas festivities.
[edit] Funeral and memorial wreaths
The symbolism of wreaths has been used at funerals since at least the time of Ancient Greece, to represent a circle of eternal life. Evergreen wreaths were laid at the burial place of early Christian virgin martyrs in Europe, the evergreen representing the victory of the eternal spirit over death.[10]
In early modern England, a wreath custom existed for the funerals of "young maidens". A young woman of the same age as the one being mourned would lead the funeral procession, carrying a wreath of white flowers to represent the purity of the deceased, and "that eternal crown of glory reserved for her in heaven".[11]
By the Victorian era, the symbolism of flowers had grown to become an elaborate language, and the symbolism of funeral wreaths was no exception. Flowers represented life and resurrection. Specific flowers were used in funeral wreaths to represent particular sentiments. Cypress and willow were used for crafting wreath frames, and were associated with mourning by the Victorians.[12]
Wreaths are commonly laid at the tombs of soldiers and at memorial cenotaphs during Memorial Day and Remembrance Day ceremonies. Wreaths may also be laid in memory of persons lost at sea, either from an accident or due to navy action. In a memorial service at sea, the wreath is lowered to the water and set adrift.
[edit] As an attire
A wreath is a headdress made from leaves, flowers and branches. It is typically worn in festive occasions and on holy days.
[edit] References
- ^ Higgins, Reynold Alleyne (1980). Greek and Roman Jewellery. University of California Press. pp. 150. ISBN 9780520036017.
- ^ Deppert-Lippitz, Barbara; Anne R. Bromberg, John Dennis (1996). Ancient gold jewelry at the Dallas Museum of Art. Dallas Museum of Art in association with the University of Washington Press. pp. 39. ISBN 9780936227191.
- ^ Hadas, Moses (1952). A History of Latin Literature. Columbia University Press. pp. 7. ISBN 9780231018487.
- ^ Batchen, Geoffrey (2006). Forget Me Not: Photography and Remembrance. Princeton Architectural Press. pp. 92. ISBN 9781568986197.
- ^ Hastings, James (1916, reprint 2003). Encyclopedia of Religion and Ethics, Part 16. Kessinger Publishing. pp. 778. ISBN 9780766136939.
- ^ Mitchell-Boyask, Robin (2008). Plague and the Athenian imagination: drama, history and the cult of Asclepius. Cambridge University Press. pp. 50-1. ISBN 9780521873451.
- ^ Zamojska-Hutchins, Danuta (2002). Cooking the Polish Way. Lerner Publications. pp. 16-17. ISBN 9780822541196.
- ^ “Advent”, Harper’s Magazine (New York: Harper and Brothers Publishing, 1896) p. 776
- ^ Angie Mosteller, Christmas: Celebrating the Christian History of American Symbols, Songs and Stories (USA: Celebrating Publishing Inc., 2008), p. 154-155
- ^ Batchen, Geoffrey (2006). Forget Me Not: Photography and Remembrance. Princeton Architectural Press. pp. 92. ISBN 9781568986197.
- ^ Hulme, Frederick Edward (1877). Bards and blossoms; or, The poetry, history, and associations of flowers. Oxford University: Marcus Ward & Co. pp. 50-1.
- ^ Batchen, Geoffrey (2006). Forget Me Not: Photography and Remembrance. Princeton Architectural Press. pp. 92. ISBN 9781568986197.
[edit] External links
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