The Year of the Ox

The Year of the Ox: Muskox (Ovibos moschatus), or ‘musky sheep-ox’ by Paula Kuitenbrouwer. Inspired by Het Leven der Dieren by S.P. Huizinga

Happy Lunar New Year of the Ox

I have drawn in an illustrative way a Muskox and added prehistoric spirals to its thick coat. The spirals symbolize ‘time’ and the passing of time as time most likely was experienced more circular than linear in ancient times.

The year of the Ox starts from February 12th, 2021 (Chinese lunar New Year Day) and lasts until January 30th, 2022. Because it will be a Metal Ox year, I have assembled a golden postcard. If we associate one characteristic to an ox it is surely its strength. May 2021 offer you strength to catch up with all you planned for 2020 but fell through due to the pandemic. May 2021 offer strength to create a ‘new normal’ that is both enjoyable for you and promising for future generations. The 2020 pandemic has showed us how we have overstepped in liberalism, hedonism and consumerism. Lock-down made us feel like we were on a forced spiritual retreat. The year 2021 requires strength and determination to make our world a better place.

Paula Kuitenbrouwer

I have only a few of these art cards at Etsy. They are heavy cards. I offer to address them to your family or friends, thus saving time which is important now that there are many worldwide, postal delays. I suggest the following text: ‘Happy Lunar New Year of the Ox’ followed by your name.

The Year of the Ox will return in 2033.

Inspired by a museum visit

In the Asian department of Leiden’s Museum of Ethnology you find this decorated ceramic plate. It shows floral and geometrical patterns, as well as a garden and landscape. Blue and orange – complementary colours, are predominately used. There are four quarters and more areas filled with sceneries that stand on their own. Perhaps more artists worked on this ceramic plate because the decoration seems to show different styles. The blue chrysanthemums are close-up; the mountainous landscape adds depth. Studying the different elements and patterns one feels enchanted a long time.


There is always something in a museum that inspires. At least, that counts for me. Whether I visit an exhibition on shamans, a scientific department with preserved animals, an insectarium, planetarium, or aquarium, fine arts, or an anthropological exhibition, something will speak to me.

The interesting thing is that you have no idea beforehand which object, story or atmosphere, or even a part of a building, will grab your attention and fill you with inspiration. All you have to do is visit a museum and open up. Inspiration might be overwhelming when you stand in front of the eminently displayed Nike of Samothrace in Paris Louvre. Equally so, it can be kindled by an object as small as the Alfred Jewel in the Ashmolean, Oxford.  Sometimes inspiration is not presented through the storyline or ancient objects of an exhibition. It might be the museum building itself that emerges you in an Art Deco atmosphere and consequently inspires you.


There is something essential you have to do, or perhaps, do not. You should not refrain yourself from feeling happy to visit a museum instead, you should feel grateful for being able to enjoy a carefully curated exhibition. Yes, gratitude and excitement are perfect emotions that do not interfere with inspiration. But what does interfere with inspiration are pre-existing ideas of what you are going to gain from visiting a museum, a gallery or exhibition. Leave all expectations at home. Step into the Medieval mindset that inspiration comes from God or is whispered in your ears by angels. Museums often are quiet, mindful places that make a visitor susceptible to ‘hearing’ angels’ whispers or to feel touched by an object or the perfect execution of fine art skills by one of a well experienced or highly trained artisan or artist.

Even when you have visited many floors, enjoyed a lunch in the museum café, or sauntered through the museum shop, you might not have an idea what inspired you. The whispers might be very subtle and not easily detectable amidst the excitement to be confronted with art, excellence, or originality. But just before you are about to put on your coat ask yourself; ‘What spoke to me?’ or ‘Where in the museum should I have lingered longer?’


There…there you sensed inspiration. Something interesting or beautiful ‘spoke’ to you. It whispers in your mind; ‘Will you stay with me a bit longer next time?’

Inspiration is a beautiful thing. To me it isn’t a thought or a feeling. It is a whisper that can become rather loud once it has sunken into your soul. It has a timeless quality; some whispers stay for weeks, others ignite your artistic fires for years. See here how art inspires to art (making). How art lives on weeks, decades, years after those who practise highly developed artistic skills left behind their artwork. Art seems to be born from this never-ending stream of inspiration, enhanced and carried by those willing to learn skills and deep focus.

Paula Kuitenbrouwer

This Asian ceramic plate in Leiden’s Museum of Ethnology grabbed my attention and with much joy and interested it inspired me to draw two large mandarin duck compositions. Perhaps you can find the elements that inspired me in my mandarin duck paintings? (Click to enlarge the pictures)

Paula Kuitenbrouwer

at Etsy

at Instagram

Prehistoric Diplomatic Dinner Party

After returning to my home country, I find myself looking back at living abroad as a diplomatic spouse. By writing fictional stories, I play with the idea how different my diplomatic memories could have been.

Prehistoric Diplomatic Dinner Party  

I lived with my husband and daughter in Asia, East and Central-Europe. Our most recent posting was Ireland. ‘Natalie’, the fictional character in my Prehistoric Dinner part story stands for all remarkable and very kind people that I met abroad. Suzanne is real and still today a very good friend.

Whilst enjoying tea in our local tearoom, Suzanne asked me how the dinner party last Saturday had been.

‘It was lovely’, I smiled and my mischievous giggle didn’t escape her. A gentle smile appeared; ‘Tell me!’

The barista brought us coffee and nut cakes.

‘Well, the party was very well organized and the Finish Embassy is just so lovely. You know that, don’t you?’ Suzanne nodded and reminded me that she had a National Day reception there last year, so there was no need for me to describe the dining room.

‘I sat between two quiet people. I tried to make conversation, you know; the usual polite opening questions. On my left sat Mr. Park from South-Korea. This was his last party before moving to Genève. He gave the most polite answers possible which hindered my attempts to engage him in conversation. You know these parties, don’t you? Everything is utterly perfect but there is no esprit’. Of course, Suzanne knew. She had been, like me, a diplomatic spouse for ages. ‘And on my right side, I had a Latin-American lady of about 60-65. Initially, she was very withdrawn and reluctant to tell about herself. I forgot to find out to whom she was partnered.’ Suzanne encouraged me to get to the point.  

‘It seemed like ages before the second serving arrived.  I felt so desperate for some enthusiasm.  I felt my mood change and..’

‘Yes, yes… so what did you do?’ Suzanne asked impatiently knowing that not much was possible because I was well educated, well prepared, well balanced…basically a lot of ‘well’s’, and thus caught in a web of well behaving-ness.

‘My mind wandered to my prehistory course, you know; my all time favourite subject, but I could not just blurt out something Neolithic and expect them to be interested. And yet, that was exactly what I longed for to do. Just for once! So, ……I made up a recent archaeological discovery. Yes, I just did that by drawing inspiration from the prehistoric excavation in France of the Lady of Vix, Germany’s Hochdorf Chieftan’s grave, combined with the famous British Amesbury Archer, all real graves but no one knows about these anyway?’

‘I have never heard of these famous individuals. Are you telling me you just made up a whole story?’ Suzanne asked with a mixture of disbelief and amusement.

‘Yes! By the time the second serving was finished, I had enthusiastically explained highly significant artifacts, linguistic evidence supporting archaeology, carbon dating accuracy, rituals, and battles. I impressed my listeners with throwing in lots of names, locations, Celtic styles, Viking trade routes, even names of highly respected archaeologists like Barry Cunliffe. He is real, by the way. I talked myself through dessert. If no-one inspires you, you basically have to inspire yourself!’

‘So true’, Suzanne said.  I could tell she was eager to hear more. 

‘Mr. Park, the Asian man, politely endured my monologue but the Latin American lady became livelier even eager to learn more about prehistoric battle victims.  The more I went into this imaginary world, any inhibition to stick to scientific evidence left me. I even became theatrical and emotional as I described Iron Age superstition and reenacted some funerary rituals focusing on the cause of death of famous shamans.

‘They had not the foggiest idea you were …uhm…. ‘storytelling’, shall I call it?’ I loved Suzanne for her unwavering diplomatic word choice. 

‘That’s right. Instead, I found the Latin-American lady asking me stimulating questions, many reflecting on the cause of death of Iron Age shamans. I sat through a jolly good dinner after all, in the company of a lovely, enduring audience.’ We laughed like young girls about my silliness and got ready to leave the tearoom.  

We were well on our way to the parking garage when Suzanne inquired whether I had first checked the background of my dinner companions. Of course, I had. The Asian man was a publisher; the Latin American woman was a doctor.

‘Imagine, telling your fantastic story to an archaeologist and finding yourself debunked!’ Suzanne giggled with the prospect of my making an unforgettable blunder. 

‘How clever do you think I am?’, I boasted.  

Before we stepped into our cars, Suzanne asked whether I would come over a bit earlier the next day to help lay the coffee table for her guests.

‘I particularly look forward to meeting Natalia again’, Suzanne said.

‘Why?’, I inquired absent-mindedly, getting into my car.

‘I met her a few days ago at that Swedish Santa Lucia reception -which you sadly missed- and she told me she felt lonely. She is older, you see. This is their last posting abroad. Apparently, she feels somewhat inhibited to tell about her job that she held till a few years ago. She is the second partner of the Peruvian ambassador and her job is often regarded as somewhat gruesome’.

‘Suzanne, could she be the woman who sat next to me last night?’, I asked disbelieving.

‘Well, she has very straight, thick black hair, a bob’, Suzanne mentioned. I started to feel uncomfortable; I had counted on never seeing my audience again!

‘Could she be the Latin-American doctor? No, it can’t be, that would be too coincidental. But darn-it, she had a bob too’, I said, placing my handbag on the car’s passenger seat.

‘I must have Natalia’s name card…, Suzanne said; ‘It is a bit of a mouthful but wait..’. Suzanne grabbed in her pocket and lifted out some name cards. After checking a few, she said; ’Here it is. She told me…. till recently she was internationally renowned … she is…here it says; a paleo-pathologist’. I gasped. Suzanne saw all my colours disappearing from my face.


The next day, Natalia cancelled tea at Suzanne’s house and I felt enormously relieved. But, inevitable as it was, I met the formerly renowned doctor in the study of diseases of ancient man a month later at the Presidential New Year’s reception.  She smiled at me as we shook hands.

‘I had hoped you would not remember me’, I said with a growing blush of shame on my cheeks.

‘I never forget faces. See, I remember somebody’s skull’s features’, she replied. And just when I was about to make a prolonged excuse, she took me by the arm.

‘Stop apologizing. You were wrong by about 5000 years on the timeline regarding a few burials, but otherwise you warmed my paleo-pathologist’s heart’.

‘You are very forgiving’, I said softly. ‘When I learned that I had been blabbing to a professional, I felt an Iron Age axe landing on my head’. Natalia smiled very kindly: ‘I was just pleasantly waiting for you to drown in a misty, prehistoric peat-land full factual and fictional sedges and shrubs.

‘To become a famous bog body on display in a national Museum of Ethnology?’, I asked. We both laughed. For as long as we were together en poste we would never skip a chance to meet at receptions and have a passionate, prehistoric chit-chat.  

Paula Kuitenbrouwer

Utrecht 2020    

Nuliajuk (Sedna) and her Shamanic Healing

Nuliajuk or Sedna, copyright by Paula Kuitenbrouwer. Notice Nuliajuk’s disorderly hair in which sea mammals are entangled. Also, notice also the healing hands of the shaman, running his/her fingers through Nuliajuk’s hair and thus setting free an Arctic unicorn (Narwhal), bearded seal, beluga, and a whale. The top of the drawing shows a successful hunt.

Nuliajuk, the sea goddess of the Nesilik Inuit

Nuliajuk or Sedna copyright by Paula Kuitenbrouwer. In this drawing the hands of a shaman take tenderly care of Nuliajuk’s hair. After a shaman has healed Nuliajuk’s anger, fish and sea mammals are set free, hunters are able to bring food home again. (Graphite drawing in Arches paper).


There is a tender beauty and quality in the ritual a shaman visiting Nuliajuk (also known by the name ‘Sedna’) performs when this fierce goddess is angry. Nuliajuk is the sea-deity on which Netsilik Inuit depend for food and living. When hunters cannot find food, Netsilik Inuit believe that their food is tangled up in Nuliajuk’s hair. A shaman will have to travel to the bottom of the icy cold sea where he or she will find the goddess upset with anger. The animals that have once been her fingers before they morphed into sea mammals are itching! They urgently need to be freed from her long hair.  

When the sea is mildly wild, Nuliajuk grows irritated. Her hair becomes tangled up with sea creatures. If only Nuliajuk could de-tangle her hair all would be well again. But she cannot because her father chopped off her fingers. Her fingers dropped next to her to the bottom of the sea where they grew into sea animals. The story of why her fingers got chopped up by her desperate father is another one, which a reader might like to research. For here, the focus lies on a tender and caring task an Inuit shaman has to perform in order to help calming down a frustrated sea goddess.  

Nuliajuk has grown so upset with itching and annoying animals, she tries wildly to release them by running her fingers through her hair. To no avail, Nuliajuk can only wildly shake her arms and head, stirring up high waves and as a result the sea becomes wilder and wilder. Hunters cannot find food or bring something edible home and even the sled dogs grow hungry. Animals cannot be hunted, hides cannot get preserved, and the health of the people is declining. It feels like spiralling down: Nuliajuk is so angry, one cannot hunt. And because the wild waves tangle up Nuliajuk’s hair even more, she grows increasingly vexed. Nuliajuk’s powers are thus either life giving when she is calm. But when she is not, people face starvation.

Shamanic Healing

Here a shaman needs to step in. He or she needs to tidy up Nuliajuk’s hair, set free animals after which Inuit are able to regain their hunt. All the shaman needs to do is reach Nuliajuk in a spiritual realm and take care of her hair. Often people relax when their hair is tenderly brushed and for Nuliajuk it is no different. This is the shaman’s task; calming down Nuliajuk, freeing sea mammals, and restoring an equilibrium that is both beneficial for the sea-goddess and for her people.

Can we see Nuliajuk’s mesmerizing hair? Yes, by looking in an ocean or sea. When you sit on a boat and you lean over, look under the surface and you will see movements. These undercurrents are Nuliajuk’s long strands of hair. Isn’t that beautiful? When we are confronted with plastic pollution (tangled up in Nuliajuk’s hair), we feel alarmed which is a good thing because – like in Nuliajuk’s tale -, plastic pollution kills sea animals; discarded fishing nets traps fish and sea mammals like Nuliajuk’s hair.  

What does the Inuit shaman look like? Well, just like any other Inuit except that he or she might dress up in a special coat. In 2015, the fashion label KTZ copied a unique shamanic Canadian Arctic garment that dated back to the early 1900s. According to Smithsonian researcher Sima Sahar Zerehi this garment was the ‘most unique garment known to have been created in the Canadian Arctic’. The design was used without the consent of the shaman’s descendants in Nunavut and thus it was pulled from stores. KTZ apologized to the family. But by then it had sparked interest in the origins of the parka and the meaning behind its symbolic designs. Do the large hands on the chest of the garment represent the hands of the shaman that help Nuliajuk with de-tangling her hair, a vital act to restore her mood?

Environmental Goddess

Nuliajuk is a timeless goddess but by now we have trade Nuliajuk’s mood for the Beaufort scale, an empirical measure that relates wind speed to observed sea conditions. When sea animals get trapped in fishing nets, we need people interfering, like shamans calming Nuliajuk. When sea-weeds, which remarkably look like Nuliajuk’s hair, disappear, we find food resources depleting. Taking care of the Great Barrier Reef of Australia by replenishing its coral feels like scientists stepping in for shamans taking care of Nuliajuk’s world. 

No matter how we tell a story about our seas and oceans, mythologically or environmentally, we know that the sea takes care of us when we take care of her.

When ancient people of Island of Man prayed to their Celtic sea god, Manannán (or Manann) to shroud their island in thick mists to protect it from marauding Vikings, people had to pray. Gods like communicating with men, they like offerings and prayers. According to mythological stories they also like to be properly thanked. In the story of Nuliajuk one sees this element of reciprocity: she takes care of her peoples, they need to help her because of her missing ability to run her fingers through her hair and thus keep it tidy. This reciprocity can be extended to all nature gods, in fact to Nature herself. We have very few shamans left but, wisely, our children are educated on environmental issues at school. Beach cleaning school trips raise lasting awareness of pollution (and contributes to ‘keeping Nuliajuk’s hair well kept).

Nuliajuk’s statue, with her sea mammal tale, in Leiden’s National Museum of Ethnology, Netherlands. About 15 cm. Probably made of soapstone.


This illustration is for sale. It could be used as a book cover or a book illustration. Or a lesson plan illustration. Contact me should you like to use it. The link is here. Its price is negotiable in relation to its copyright.


How can we educate our children on Nuliajuk? When trying to buy a book on this goddess, I find only one title: ‘Nuliajuk’ by the explorer Knud Rasmussen, published in 2017 for Grade 3 readers. This is great for young children for learning about the interaction between nature and man by anthropomorphizing nature forces. When these children become high school students, they will remember their mythological education and see stories morphing into environmental science. They might even recognize the small Nuliajuk statute in Leiden’s National Museum of Ethnology (Netherlands). Her small, soapstone statute carries a beautiful historical, environmental, and mythological tale of nature’s power over peoples and over healing reciprocity.

Paula Kuitenbrouwer


Some lesson ideas are:

Explain the role of the shaman and compare him/her to priests, doctors and environmental activists. Look up the four animals that are trapped in Nuliajuk’s hair. Explain why they are mammals and not fish. Explain why Nuliajuk has become an environmental goddess who needs our help; explain on a larger scale taking care of our environment. Explain why we need seas and oceans for food and future food (seaweeds and algae). Compare Nuliajuk’s hair with discarded fishing nets. Explain why we need nature and why nature needs our care.

Paula Kuitenbrouwer

Paula Kuitenbrouwer holds an MA degree in Philosophy (UvA) and is the owner of Her pen and pencils are always fighting for her attention nevertheless they are best friends; Paula likes her art to be brainy and her essays to be artistic.

Paula’s shop is at Etsy & her portfolio is at Instagram @mindfuldrawing