5 Phoenix

A mytical Creature from the Geek Myth but also a Creature in the Chinese Myth the vermillion Bird a powerful Bird that can Revive it self and Burn people to ashes with its own flame the only Bird it can counter by is cenderawasih a Malaysian mytical Creature that appear in Sabah or Sarawak a Bird powerful enough to shake the earth with its presence Alone the two Bird use to fight each other for dominace in the sky but Phoenix lost and cenderawasih won the fight Hafiz seeing that fight when he was just a kid made him feel in Love more with the bird like mytical Creature but with its ability to Reborn it self it Never actually been Defeat in a fight.

The Vermilion Bird (Chinese: 朱雀 Zhūquè) is one of the Four Symbols of the Chinese constellations. According to Wu Xing, the Taoist five-elemental system, it represents the fire-element, the direction south, and the season summer correspondingly. Thus it is sometimes called the Vermilion Bird of the South (Chinese: 南方朱雀, Nán Fāng Zhū Què). It is described as a red bird that resembles a pheasant with a five-colored plumage and is perpetually covered in flames. It is known as Suzaku in Japanese, Jujak in Korean and Chu Tước in Vietnamese, It is often mistaken for the Fenghuang due to similarities in appearance, but the two are different creatures.[1] The Fenghuang is a legendary ruler of birds who is associated with the Chinese Empress in the same way the dragon is associated with the Emperor, while the Vermilion Bird is a mythological spirit creature of the Chinese constellations.

The Vermilion Bird is elegant and noble in both appearance and behavior, with feathers in many different hues of vermilion. It is very selective about what it eats and where it perches. The Word vermillion Mean is Vermilion (sometimes spelled vermillion)[1][2] is both a brilliant red or scarlet pigment, originally made from the powdered mineral cinnabar, and the corresponding color.[3] It is commonly used in Hindu culture, primarily by women, and was widely used in the art and decoration of Ancient Rome, in the illuminated manuscripts of the Middle Ages, in the paintings of the Renaissance, and in the art and lacquerware of China.[4][5](taken this from the wiki) .

The word vermilion came from the Old French word vermeillon, which was derived from vermeil, from the Latin vermiculus, the diminutive of the Latin word vermis, or worm. The name originated because it had a similar color to the natural red dye made from an insect, Kermes vermilio, which was widely used in Europe.[6] The first recorded use of "vermilion" as a color name in English was in 1289.[7][8] The term cinnabar was used interchangeably with vermilion until the 17th century, when vermilion became the more common name. Now the term "cinnabar" is used in mineralogy and crystallography for the red crystalline form of mercury sulfide HgS. Thus, the natural mineral pigment is called "cinnabar", and its synthetic form is called "vermilion". In ancient times, the term "cinnabar" could also be applied to red lead.[9]

In some Iberian languages, the word for "red" is also derived from vermiculus, making the words for "red" and "vermillion" doublets. Compare Portuguese and Catalan vermelho/vermell ("red") and vermelhão/vermelló ("vermillion").(taken from wiki)Vermilion is a dense, opaque pigment with a clear, brilliant hue.[10] The pigment was originally made by grinding a powder of cinnabar (mercury sulfide).[11] Like most mercury compounds, it is toxic.[12]

Vermilion is not one specific hue; mercuric sulfides make a range of warm hues, from bright orange-red to a duller reddish-purple that resembles fresh duck liver. Differences in hue are caused by the size of the ground particles of pigment. Larger crystals produce duller and less-orange hue.

Cinnabar pigment was a side product of the mining of mercury, and mining cinnabar was difficult, expensive, and dangerous, because of the toxicity of mercury. Greek philosopher Theophrastus of Eresus (371–286 BC) described the process in De Lapidibus, the first scientific book on minerals. Efforts began early to find a better way to make the pigment.

The Chinese were probably the first to make a synthetic vermilion as early as the fourth century BC. Greek alchemist Zosimus of Panopolis (third–fourth century AD) wrote that such a method existed. In the early 9th century, the process was accurately described by Persian alchemist Jabir ibn Hayyan (722–804) in his book of recipes of colors, and the process began to be widely used in Europe.[10][13]

The process described by Jabir ibn Hayyan was fairly simple. Mix mercury with sulfur, to form aethiopes mineralis, a black compound of mercury sulfide. Heat this in a flask. The compound vaporizes and recondenses in the top of the flask. Break the flask. Collect the vermilion, and grind it. When first created, the material is almost black. As it is ground, the red color appears. The longer the compound is ground, the finer the color becomes. Italian Renaissance artist Cennino Cennini wrote: "If you were to grind it every day, even for 20 years, it would keep getting better and more perfect."[14]

In the 17th century, a new method of making the pigment was introduced, known as the Dutch method.[12] Mercury and melted sulfur were mashed to make black mercury sulfide, then heated in a retort, producing vapors condensing as a bright, red mercury sulfide. To remove the sulfur, these crystals were treated with a strong alkali, washed, and finally ground under water to yield the commercial powder form of the pigment.[15] The pigment is still made today using essentially the same process.

Vermilion has one important defect; it is liable to darken, or develop a purplish-gray surface sheen.[10] Cennino Cennini wrote, "Bear in mind ... that it is not in its character to be exposed to air, but it is more resistant on panel than on walls since, when it is used and laid on a wall, over a period of time, standing in the air, it turns black."[16] Newer research indicates that chlorine ions and light may aid in decomposing vermilion into elemental mercury, which is black when in finely dispersed form.[17][18]

Vermilion was the primary red pigment used by European painters, from the Renaissance until the 20th century. Because of its cost and toxicity, though, it was almost entirely replaced by a new synthetic pigment, cadmium red, in the 20th century.

Genuine vermilion pigment today comes mostly from China; it is a synthetic mercuric sulfide, labeled on paint tubes as PR-106 (Red Pigment 106). The synthetic pigment is of higher quality than vermilion made from ground cinnabar, which has many impurities. The pigment is very toxic, and should be used with great care.[19]