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War paint of the Indians. Julius Caesar: blue faces are "more terrible than others in appearance"

In this article we will try to raise the main milestones in history war paint, to learn how it is used today, and also to study short instruction by applying it.

History of war paint

It is known that war paint used by the ancient Celts, who used for this blue indigo, obtained from the woad plant. The Celts applied the resulting solution to a naked body or painted its bare parts. Although it is impossible to say with complete certainty that the Celts were the first to come up with the idea of applying war paint to the face - woad was used as far back as the Neolithic era.

New Zealand Maori applied permanent symmetrical patterns to the skin of the face and body, which were called "ta-moko". Such a tattoo was extremely important in Maori culture; "ta-moko" could be read social status man, but, in addition, it was an attempt to make a "permanent camouflage" and at the same time create a prototype military uniform. In 1642, Abel Tasman reached New Zealand for the first time and came face to face with local residents. In the diaries that have survived from that time, there is not a word about the fact that he met people with tattoos on their faces. And the expedition of 1769, which included the naturalist Joseph Banks, testified in their observations to strange and unusual tattoos on the faces of local natives. That is, it took at least another hundred years before the Maori began to use tattoos.

The North American Indians used dyes to create patterns on the skin, which helped them, as in the case of the Maori, for personification. The Indians believed that the patterns would help them gain magical protection in battle, and the colored patterns on the faces of the fighters made them look more ferocious and dangerous.

Besides coloring own body the Indians applied patterns to their horses; it was believed that a certain pattern on the horse's body would protect it and give it magical abilities. Some symbols meant that the warrior expressed respect for the gods or was blessed to win. This knowledge was passed down from generation to generation until the culture was destroyed during the wars of conquest.

Similar to modern soldiers receive awards for their achievements in military affairs, the Indian had the right to apply a certain pattern only after he had distinguished himself in battle. Therefore, each mark and symbol on the body carried an important meaning. The palm, for example, meant that the Indian distinguished himself in hand-to-hand combat and had good fighting skills. In addition, a palm print could serve as a talisman, symbolizing that the Indian would be invisible on the battlefield. In turn, a woman from the tribe, who saw an Indian warrior with a handprint, understood that nothing threatened her with such a man. The symbolism of the patterns went far beyond just ritual actions and social markings, it was necessary as an amulet, as a bodily placebo that instills strength and courage in a warrior.

Not only graphic markers were important, but also the color basis of each character. Symbols applied with red paint denoted blood, strength, energy and success in battle, but could also have quite peaceful connotations - beauty and happiness - if faces were painted with similar colors. Black color meant readiness for war, strength, but carried more aggressive energy. Those warriors who returned home after a victorious battle were marked in black. So did the ancient Romans, returning to Rome on horseback after a victory, but they painted their faces in bright red color, imitating their god of war, Mars. White color meant sorrow, although there was another meaning - the world. Blue or green patterns were applied to the most intellectually developed and spiritually enlightened members of the tribe. These colors meant wisdom and endurance. Green was closely associated with harmony and the power of providence.

Later, the Indians began to use coloring not only for intimidation, but also as camouflage - they selected the colors of the coloring in accordance with the conditions. Flowers "treated", protected, prepared for a "new life", expressed internal state and social status, and, of course, face and body painting were applied as decorative elements.

The modern interpretation of war paint is purely practical. military inflict dark paint on the face under the eyes and on the cheeks to reduce reflections sun rays from the surface of the skin, which is not protected by camouflage fabric.

When we look at an image, the brain processes great amount information received from the eyes and other senses. In order for consciousness to extract some meaning from what it sees, the brain divides the big picture into its component parts. When the eye looks at a vertical line with green spots, the brain receives a signal and identifies it as a tree, and when the brain perceives many, many trees, it already sees them as a forest.

Consciousness tends to recognize something as an independent object only if this object has a continuous color. It turns out that a person is much more likely to be noticed if his suit is absolutely plain. In the jungle a large number of colors in a camouflage pattern will be perceived as a holistic object, because the jungle literally consists of small details.

Exposed areas of the skin reflect light and attract attention. Usually, in order to properly paint, the soldiers help each other before the start of the operation.

Shiny parts of the body - forehead, cheekbones, nose, ears and chin - are painted in dark colors, and the shadow (or darkened) areas of the face - around the eyes, under the nose and under the chin - in light green shades. In addition to the face, coloring is also applied to open parts of the body: back necks, arms and hands.

In practice, the three most commonly used standard type face paints: loam (clay color), light green, applicable to all types of ground forces in areas where there is not enough green vegetation, and clay white for troops in snowy areas.

In the development of protective paints, two main criteria are taken into account: the protection and safety of the soldier. The safety criterion means simplicity and ease of use: when a soldier applies paint to exposed parts of the body, it must remain resistant in conditions environment, resistant to perspiration and match the outfit. Face painting does not detract from the soldier's natural sensitivity, is virtually odorless, does not irritate the skin, and is not harmful if accidentally splashed into the eyes or mouth.

Modern tendencies

Currently, there is a prototype paint that protects the skin of a soldier and from the heat wave during an explosion. What is meant: in reality, the heat wave from the explosion lasts no more than two seconds, its temperature is 600 ° C, but this time is enough to completely burn the face and severely damage unprotected limbs. As stated, new material able to protect exposed skin from a light burn for 15 seconds after the explosion.

Along with the development of language as a communication tool, non-verbal ways of communication developed. Before learning to speak coherently, a person used the limbs of the hands and facial expressions to communicate, unconsciously learning to put so much meaning into each arc and straight line on the face that all this was enough to be fully understood by the interlocutor. Going to war or hunting, he applied a symmetrical ornament to his face, emphasizing his intentions, and with the help of facial muscles, the coloring came to life and began to work according to specific rules.

In this article, we tried to raise the main milestones in the history of war paint, find out how it is used today, and also draw up a short application instruction.

History of war paint

It is known that war paint was used by the ancient Celts, who used for this blue indigo, obtained from dyeing woad. The Celts applied the resulting solution to a naked body or painted its bare parts. Although it is impossible to say with complete certainty that the Celts were the first to come up with the idea of applying war paint to the face - woad was used as far back as the Neolithic era.

New Zealand Maori applied permanent symmetrical patterns to the skin of the face and body, which were called "ta-moko". Such a tattoo was extremely important in Maori culture; by "ta-moko" one could read the social status of a person, but, in addition, it was an attempt to make "permanent camouflage" and at the same time create a prototype of a military uniform. In 1642, Abel Tasman reached the shores of New Zealand for the first time and came face to face with the locals. In the diaries that have survived from that time, there is not a word about the fact that he met people with tattoos on their faces. And the expedition of 1769, which included the naturalist Joseph Banks, testified in their observations to strange and unusual tattoos on the faces of local natives. That is, it took at least another hundred years before the Maori began to use tattoos.

dyer's woad

In addition to painting their own bodies, the Indians applied patterns to their horses; it was believed that a certain pattern on the horse's body would protect it and give it magical abilities. Some symbols meant that the warrior expressed respect for the gods or was blessed to win. This knowledge was passed down from generation to generation until the culture was destroyed during the wars of conquest.

Just as modern soldiers receive awards for their achievements in military affairs, an Indian was only entitled to apply a certain pattern after he had distinguished himself in battle. Therefore, each mark and symbol on the body carried an important meaning. The palm, for example, meant that the Indian distinguished himself in hand-to-hand combat and had good fighting skills. In addition, a palm print could serve as a talisman, symbolizing that the Indian would be invisible on the battlefield. In turn, a woman from the tribe, who saw an Indian warrior with a handprint, understood that nothing threatened her with such a man. The symbolism of the patterns went far beyond just ritual actions and social markings, it was necessary as an amulet, as a bodily placebo that instills strength and courage in a warrior.

Black color meant readiness for war, strength, but carried more aggressive energy. Those warriors who returned home after a victorious battle were marked in black. So did the ancient Romans when they returned to Rome on horseback after a victory, but they painted their faces bright red in imitation of their god of war, Mars. White color meant sorrow, although there was another meaning - peace. Blue or green patterns were applied to the most intellectually developed and spiritually enlightened members of the tribe. These colors meant wisdom and endurance. Green was closely associated with harmony and the power of providence.

Later, the Indians began to use coloring not only for intimidation, but also as camouflage - they selected the colors of the coloring in accordance with the conditions. Flowers “treated”, protected, prepared for a “new life”, expressed the internal state and social status, and, of course, face and body painting was applied as decorative elements.

The modern interpretation of war paint is purely practical. military inflict black coloring on the face under the eyes and on the cheeks to reduce the reflection of sunlight from the surface of the skin, which is not protected by camouflage fabric.

Those warriors who returned home after a victorious battle were marked in black.

Coloring rules

When we look at an image, the brain processes a huge amount of information from the eyes and other senses. In order for consciousness to extract some meaning from what it sees, the brain divides the big picture into its component parts. When the eye looks at a vertical line with green spots, the brain receives a signal and identifies it as a tree, and when the brain perceives many, many trees, it already sees them as a forest.

Consciousness tends to recognize something as an independent object only if this object has a continuous color. It turns out that a person is much more likely to be noticed if his suit is absolutely plain. In jungle conditions, a large number of colors in a camouflage pattern will be perceived as a holistic object, because the jungle is literally made up of small details.

Exposed areas of the skin reflect light and attract attention. Usually, in order to properly paint, the soldiers help each other before the start of the operation. The shiny parts of the body - the forehead, cheekbones, nose, ears and chin - are painted in dark colors, and the shadow (or darkened) areas of the face - around the eyes, under the nose and under the chin - in light green shades. In addition to the face, coloring is also applied to open parts of the body: the back of the neck, arms and hands.

Two-tone camouflage paint is more often applied randomly. The palms of the hands are usually not masked, but if in military operations the hands are used as a communication tool, that is, they serve to transmit non-verbal tactical signals, they are also masked. In practice, three standard types of face paint are most often used: loam (clay color), light green, applicable to all types of ground forces in areas where there is not enough green vegetation, and clay white for troops in snowy areas.

In the development of protective paints, two main criteria are taken into account: the protection and safety of the soldier. The criterion for safety means simplicity and ease of use: when applied by a soldier to exposed parts of the body, it must remain resistant to environmental conditions, resistant to perspiration and match the uniform. Face painting does not detract from the soldier's natural sensitivity, is virtually odorless, does not irritate the skin, and is not harmful if accidentally splashed into the eyes or mouth.

Exposed areas of the skin reflect light and attract attention

Modern methods

Currently, there is a prototype paint that protects the skin of a soldier and from the heat wave during an explosion. What is meant: in reality, the heat wave from the explosion lasts no more than two seconds, its temperature is 600 ° C, but this time is enough to completely burn the face and severely damage unprotected limbs. As stated, the new material is able to protect exposed skin from a slight burn for 15 seconds after the explosion.

To paint the body, including the face, a person, as a herd and social "animal", began from ancient times. Each tribe had a different ritual make-up, but it was produced for the same purposes:

Designation of tribal (family) affiliation;
Defining and emphasizing one's status within the tribe;
Announcement of special achievements and merits;
The designation of the unique qualities and skills inherent in this individual.
Definition of occupation in this moment (fighting, hunting and supplying the tribe, exploration, peacetime, and so on).
Obtaining magical or mystical protection to support their actions, both during the conduct of hostilities and when participating in special rites.

In addition to coloring your own body (and the photo of the coloring of the Indian can be seen in our article), North American Indians drew appropriate patterns on horseback. And for almost the same purposes as on myself.

Indian war paint

As you might guess from the name, not only graphics played a role in the coloring, but also the color, which denoted various phenomena:

Red - blood and energy. According to beliefs, he brought good luck and success in battle. In peacetime, set off the beauty and family happiness.
Black - readiness for war, beating aggressiveness and strength. This color was mandatory when returning with a victory.
White - meant sorrow or peace. These two concepts among the Indians were very close.
The intellectual elite of the tribe painted themselves blue or green: wise and enlightened, as well as people who knew how to communicate with spirits and gods. Green color also carried data about the presence of harmony.

Entering the "War Path"

“A great day to die” - with such a motto, the North American Indians met the news of the beginning of a military campaign and began to apply war face paint. He confirmed the ferocious courage and unshakable courage of the warrior, his status and past merits. He was supposed to inspire horror in the enemy, including the defeated or captured, instill fear and despair in him, give magical and mystical protection to the wearer. The stripes on the cheeks confirmed that their owner had repeatedly killed enemies. When applying war paint, factors were taken into account that not only frightened the enemy, but also provided additional protection, including camouflage.

The image of the palm could mean good hand-to-hand combat skills or the possession of a talisman that gives the owner stealth and invisibility on the battlefield. Different, but the same type of war paint gave a sense of unity and kinship in battle, as it is now - a modern army uniform. He also emphasized the status of a fighter, like insignia and orders today.

The war paint of the Indians turned out to be effective means to boost their morale. He also helped to cope with the fear of death, since it was necessary to die, like a hero, with a thirst for blood that overwhelmed the heart. It was impossible to let him be filled with the fear of death and the desire to live, for this is a shame for a warrior.

Features of the war paint of horses

After the end of the ceremony of their coloring, if the Indian did not fight on foot, they switched to horses. light paint dark-colored horses were smeared, and light-colored animals - with red paint. White circles were applied to the horse's eyes in order to improve their vision, and the places of injuries, like their own, were marked in red.

Symbolism

Almost every Indian from the very beginning of his youth thoroughly knew the features of ordinary and war paint as members of his tribe, as well as related and allied tribes, as well as all known enemies. Despite the fact that the meaning and meaning of the same symbol or combination of colors among different tribes, in different time, could differ significantly, the Indians were perfectly oriented in this almost endless sea of \u200b\u200bvalues, which caused genuine surprise and envy of the whites who contacted him. Some frankly admired, but most of the “whites” only hated the Indians more for such qualities as loyalty to the word and the unwritten code of conduct, honesty and frankness in demonstrating their intentions by the Indians, which confirmed the war paint on their faces.

An interesting fact: at present, there is a stable stereotype that the North American Indians got the nickname "redskins" for their skin color, supposedly having reddish tint. In fact, their skin is slightly yellowish and slightly shimmers with light brown (for different tribes, especially those living far from each other, this shade may vary). But the term "redskins" arose and took root due to the coloring of the faces of the Indians, in which red prevailed.

Let's note one more interesting fact. Only warriors who distinguished themselves in battle had the right to apply paint to the faces of their wives.

The role of "pale faces" in the implementation of coloring

Naturally, the Indians, even before the advent of whites, with their ability to produce on an industrial scale and, accordingly, supply someone with paints of any shades, applied war paint. The Indians knew different types of clay, soot, animal fat, charcoal and graphite, as well as vegetable dyes. But with the advent of wandering traders in the tribes, and also after the beginning of Indian visits to trading posts, paints became the only commodity that could compete with alcohol (fire water) and weapons.

Meaning of individual elements

Each element of the combat, and not only, the coloring of the Indians necessarily meant something specific. Sometimes - the same for different tribes, but more often just very, very similar. In addition, being drawn separately, the pattern could mean one thing, and in combination with other elements of such "tattoos", something generalizing or clarifying, and in individual cases- just the opposite. The meaning of the war paint of the Indians:

A palm print depicted on the face, as a rule, meant that the warrior was successful in hand-to-hand combat or a very good stealth scout. For women of their own or allied tribe, this element served as a guide reliable protection.
Vertical red lines on the cheeks and above in many tribes meant the number of killed enemies. In some tribes, blacks spoke about the same horizontal stripes on one of the cheeks. And vertical marks on the neck meant the number of battles.
Some of the tribes painted their faces with black paint, in whole or in part, before the battle, and most after a victorious fight, before returning home.
Very often the face area around the eyes was painted over, or they were outlined in circles. Usually this meant that the enemy would not be able to hide and the warrior would attack him and defeat him with the help of spirits or magic.
Traces of wounds were marked with red paint.
Cross lines on the wrist or hands meant a successful escape from captivity.
Color on the hips parallel lines meant that the warrior fights on foot, and crossed - on horseback.

Peculiarities

The Indians, as a rule, were very eager to emphasize all their achievements in war paint, but did not attribute too much to themselves, but moved from one status level to another only on the basis of victories, murders, the presence of scalps, recognition by fellow tribesmen, and so on. At the same time, the war paint of the Indians, at the same time, was applied to a minimum by young men who had just come to the appropriate age, as well as by young warriors who had not yet received the opportunity to distinguish themselves in combat battles. Otherwise, the spirits of the ancestors might not recognize their own and not show them needed help, and even worse.

The Indians, of course, were very well versed in the social hierarchy and knew their leaders, including the military. But this did not mean that the leaders did not emphasize their high status with clothing, headdress and war paint. So, the image of the square indicated that its bearer was the leader of this military detachment.

Drawings in the form of heads of predatory animals

Separately, it must be said about tattoos or paint drawings in the form of heads of predatory animals, which were depicted on the head or body and which were very difficult to earn. In particular, they meant:

coyote - cunning;
wolf - ferocity;
bear - power and strength;
eagle - courage and vigilance.

Items of clothing and military weapons were subject to coloring. On the shields, if the warrior used it, there was a lot of space, and it was possible to apply not only the achievements already available, but those that he aspired to. And by tailoring, finishing and coloring moccasins, even a child could determine the tribal affiliation of its owner.

Military face paint

In our practical time, a purely practical mundane value is attached to war paint. The military, including intelligence or special forces, need to reduce the visibility of the face and exposed areas of the body, including the eyelids, ears, neck and hands. "Makeup" also has to decide important task for protection against:

Mosquitoes, midges and other insects, whether they are blood-sucking or not.
Solar and other types of combat and (non-combat) burns.

A lot of time in preparation is given to the practice of applying camouflage makeup from improvised means. As a rule, it should be two-tone and consist of parallel straight or wavy stripes. Earth, dirt, ash or clay is the main element. In summer, grass, sap, or parts of plants can be used in summer, and chalk or something like it in winter. There should be several zones on the face (up to five). Make-up is applied by the warrior himself and should be quite individual.

Children's coloring

The war paint of the Indians for children is now done very often, especially for boys. Therefore, having painted their faces and stuck a feather of any bird in their hair, they cheerfully chase each other, waving a toy tomahawk and shouting loudly, by rhythmically pressing an open palm to their mouths. This makeup is perfect for children's carnivals and parties. The safe face painting perfectly imitates the war paint of the Indians from the photo of the original drawings and is easily washed off with soap and water.

Conclusion

So, we examined the essence and features of the war paint of the Indians. As you can see, each color and pattern has its own meaning. For now see In a similar way painted Indians will be difficult (except at carnivals), but several hundred years ago this nuance was given great attention, and coloring had its own power.

Coloring book, tattoo, hairstyles

The war paint of the Indians has always attracted increased attention. Here is what the traveler and artist J. Katlin writes, who visited many North American tribes in the 1930s.

The name "Red Indians" was probably given to them due to the use of ocher and cinnabar, their favorite colors when painting the body and face.

This custom is the same in all tribes. They interfere with paint with bear fat and, looking at small mirror, which they buy from merchants, are smeared, using their fingers instead of brushes. Coloring is considered part of the costume, and few Indians will show up in the morning without sitting for an hour or more at their toilet, without oiling and combing their hair, without painting their faces and limbs.

The colorings were individual and common to any military society or tribe.

The coloring means that the warrior returned from the war, bringing many scalps. Red spot - wound in the forehead. Wand in hair - killed the enemy with one shot.

Individual often reflected military merit. So, spots or stripes could correspond to the amount of ku; a face painted black was a sign of victory over the enemy. Various symbols of the sun, rainbow, stars, moon embodied the magical powers that protected the warrior in battle. Each military society had its own coloring, often symbolizing its name. There were colorings inherent in a particular tribe. Assiniboine warriors, for example, drew two black stripes down the neck to the chest, surrounded the eyes with white paint, and painted the face red or red-brown.

In addition to the fact that the coloring reported some information about the Indian, it served magical protection, was an attribute of aesthetics, it could also protect against cold, snow, insect bites. And even treat skin diseases! Let's look at the composition of some paints - badger or bear fat plus pigment: white - White clay; red-brown - cinnabar, ocher; blue-green - blue earth mined at the foot of the Rocky Mountains; black - charcoal; brown - prickly pear leaves; yellow - flowers of various plants.

Crow. Festive hairstyle and the coloring of the warrior

Front hair dyed with white clay

Osage. Warrior hairstyle and coloring

Roach attached to hair

Tattoo mainly played a role protective magic. Warriors tattooed their chests and arms. Sioux applied signs on the wrists, chin or forehead, which served as a pass for the soul of the deceased to the "eternal land of many tips."

Indian hairstyles, like clothing, were also influenced by fashion and changed more than once during the 19th century. AT early period almost all nomads and "farmers" shaved their heads, leaving a small comb on top. This hairstyle was a sign of a warrior, and the strand of hair remaining on a bare skull was called “scalp” and meant a challenge to enemies - “try to take it”! By the end of the 19th century, only a few Pawnee, Osage and Sauk-and-Fox survived such hairstyles.

In the 1830s and 50s, warriors mostly wore long flowing hair, and a forelock was left on their foreheads, which hung over the bridge of their nose. The Assiniboins and Maidans kept this style the longest. The Cheyennes, Blackfoots, Gros Ventres, and Sarsees often wore their hair in a bun or braid over their foreheads. The spiritual leaders of the Blackfeet and Sarsi wore this hairstyle until the beginning of this century. Kiowa and Kiowa Apache cut their hair off right side very short - so as not to interfere with archery, but left long on the left. In the old days, Crowe also wore a similar hairstyle, but in the middle of the 19th century they developed a style inherent only to them - the hair remained very long at the back and was not braided, two braids were made on the sides above the ears, and the hair on the forehead was cut very short - greased or white clay, they stuck up vertically. A straight parting and two braids on the sides are characteristic of the Sioux, Cheyenne, Arapaho, Comanche and some Assiniboins. Hair combed back or parted in the middle was worn primarily by the Blackfoot, as well as the Crow, Gros Ventre, Assiniboine, Shoshone, Ne-Perse, Flatheads.

The Sioux, Shoshone, and Kiowa often wore one braid and left the other side of their hair loose. Sometimes the hair was cut short, it barely reached the shoulders - this is what the Kiowa, Kiowa Apaches, Assiniboins did. Various accessories for hairstyles were also very popular, for example, strips of otter skin or cloth. They were wrapped around the braids of Sioux, Cheyenne, Arapaho, Kiowa, Comanche, Utah, Jicarilla, Tonkawa, Hidatsa, Mandana, Arikara. To make their hair appear longer, Crow wore chignons at the back of his head. The most beautiful was considered a warrior, whose hair dragged along the ground. In the Blackfoot, the length of the hair indicated military qualities: firstly, it is beautiful and prestigious, and secondly, the hair contains Magic power, and, consequently, in long hair it is more. Cropped hair was a sign of mourning.

Coloring means speed and strength. A semicircle is a shining vault of heaven, lightning is speed, green color- Earth.

Blackfoot (Kaina). Hairstyle and coloring of the leader

Kiowa. Warrior

On the right side, the hair is cut short, six earrings are inserted into the right ear.

A kind of decoration made of the stiff wool of an American porcupine or a deer tail - a roach - was worn by warriors of all tribes. This is a kind of comb, which was attached to a thin pigtail at the crown. Roach was among the attributes of many military societies and was an indispensable regalia of the military Grass Dance.

The warrior wears his hair in a side parting, gathered in a braid at the back. Coloring book - a sign of a warrior. A beard is a very rare decoration for wall Indians.

Assiniboine

Coloring book of a warrior who returned from the war with a victory. Black color - the color of victory, symbolizes the killed enemy, extinct enemy fires. Tattoo on chest. "Pompadour" - a ponytail or pigtail in the middle of the forehead - a typical Assiniboine hairstyle.

At all unusual hairstyle worn by the Assiniboins, members of the Bear society. The top of the head was shaved, and part of the hair on the sides was twisted into two balls, imitating bear ears.

There were no options for shaving the head in the Omaha tribe: they left a strip in the middle, or a cross, or they shaved their hair on only one side, or left some shreds, ponytails ...

Facial hair, including eyebrows, was plucked - it was considered ugly to have them.

However, Kiowa and Yuta sometimes wore mustaches, and Ponca had small beards.

All men went with earrings - ears were usually pierced at birth. In the northern and central plains, warriors wore one, less often two, earrings in each ear, while "farmers" (Pawnee, Osage, Ku-apo and others) and nomads of the southern plains (Kiowa, Kiowa-Apache) preferred many earrings, piercing their ears all over the edge. In ancient times, Iowa and some tribes of the plateau did not do without decorations in the nose.

Women of all tribes looked more modest - parted hair, usually braided in two braids, plucked eyebrows, a few strokes of coloring, earrings. True, women's earrings were very long, sometimes to the waist; they were made from light dentalium shells. But in general, the men had, of course, a more imposing appearance.

Kiowa. Woman coloring book

Means the expectation of a warrior returning with victory.

The appearance of each warrior was individual, but at the same time it provided maximum information about its owner.

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