In this installment, we find Sawulak in a state of peaceful slumber after conquering the earth. To understand his journey and significance, I encourage readers to refer to the companion article titled "The Path of the Sawulak" (accessible at https://medium.com/@sarira-merikhi-art/path-of-the-sawulak-8bff05f770bc). As he rests, Nahid, a celestial legend of benevolence, descends to earth, marking the beginning of a new and exciting chapter in this extraordinary tale.

I've titled this piece "Let There Be Light," inspired by one of the verses from the Bible. There's no longer a need to wander in the obscurity of sin and death; through Christ, we are assured that we will "never walk in darkness but will have the light of life" (John 8:12).

Let there be light

Sariraa.eth

We are creating a Karen Army. Our voices will be heard by the managers.

Cope Karen

The Fifth Labour depicts Rostam’s fateful encounter with Olad, a powerful Turkic warrior of Mazandaran. After four perilous trials, Rostam faces Olad in single combat. The clash is fierce, with Olad’s strength rivaling that of Iran’s greatest champion. Yet Rostam overpowers him, pulling him from his horse with his mace. Instead of killing his foe, Rostam makes a pact: Olad will guide him to the White Demon’s lair and to the imprisoned King Kavus. In return, Rostam promises to spare his life and crown him king of Mazandaran once victory is secured. This moment of strategy and mercy transforms a rival into an ally, marking a turning point in Rostam’s epic journey

The Fifth Labour

At the Gate of the Abyss

After taming the wild, enduring thirst, slaying the dragon, and outwitting the sorceress,
after subduing Oulad and turning an enemy into an ally,
Rostam now reaches the entrance to the mountain of the demons.

Before him lies the cavern of Arzhang Div, guardian of the white demon’s lair.
The air is thick, the silence trembling. He raises his horn, not to summon help, but to declare his presence.
This is not just a battle cry; it’s a statement of will, a confrontation with fear itself.

Here, the hero doesn’t rush blindly into war.
He pauses, breathes, and acknowledges the gravity of what’s ahead.
Because Khan Six is not merely a fight, it’s the moment of awareness before descent,
when light still flickers, and courage becomes a kind of faith

The 6th Labour

Dawn Over Sawulak marks the last clash between light and darkness. Nahid, radiant and unyielding, enters the world’s ring to confront the horned tyrant who shackled Earth in fear and despair. This is more than a duel—it is the struggle of hope against oppression, memory against oblivion. With each strike, Nahid dismantles the serpent coils of deceit, until the long night collapses. The piece stands as a symbol of resilience, reminding us that light does not debate—it simply arrives, and when it does, shadows have no choice but to vanish.

Dawn Over Sawulak

A surreal vision of the Vain Man’s planet, where ego reigns and empty praise is currency. The Little Prince stands atop a giant nose, surveying tethered heads of admirers. Hybris challenges our craving for validation and reminds us that true worth cannot be bought with applause.

Hybris

A surreal planet sculpted into a giant human heart, where each chamber and vessel pulses with feeling. Here, the Little Prince stands beside a dedicated Lamplighter, whose torch of emotion fuels an antique lantern that keeps the heart, and its world, aglow. Pathos explores how love, grief, joy, and hope are the true fuels of our inner light, reminding us that tending our emotions is both an art and a necessity.

Pathos

This piece is inspired by a well-known Iranian proverb, "He has left no hill without soiling it," which carries a humorous undertone. The proverb is often used to describe someone whose actions invariably lead to chaos or failure, no matter where they go or what they attempt. The artwork captures the essence of this saying, illustrating the comedic irony and the universal truth behind it—that some people have a knack for leaving a trail of misfortune in their wake. Through this creation, the cultural humor of the proverb is conveyed, making a lighthearted yet profound commentary on the human condition.

The Trail of Chaos

Rostam is a legendary hero in Persian mythology, the son of Zāl and Rudaba, whose life and work was immortalized by the 10th-century Persian poet Ferdowsi in the Shahnameh, or Epic of Kings, which contains pre-Islamic Iranian folklore and history. However, the roots of the narrative date much earlier.
He is also known for the story of Seven Labours.
Rostam was always represented as the mightiest of Iranian holy warriors.

Rocky Balboa, is a fictional title character and the protagonist of the Rocky film series. The character was created by Sylvester Stallone, who has also portrayed him in all eight films in the franchise. He is depicted as a working class or poor Italian-American from the slums of Philadelphia who started out as a club fighter and "enforcer" for a local loan shark. And becomes a legend.

In this piece, I have tied the famous Rocky headband and his boxing gloves for Rostam.

Rostam Balboa

The Fox and the Crow is an old story, There are examples of this story in early Latin and Greek sources, and there are even pictures on vases of ancient Greece that are thought to have depicted this story. The story is used as a warning against listening to flattery.

In this story, a crow finds a piece of cheese and eating it on a branch. A fox, greedy for cheese, flatters with raven and says, "You are so beautiful and wonderful. I think your voice is so sweet and beautiful." When the crow caws, the cheese falls and the fox abducts it.

"Fox and the Crow" in the Persian textbook introduces the poem of Habib Yaghmaei and the beautiful illustration of Parviz Kalantari from this story that a raven sits on a tree with a cheese mold in its mouth And in fact shows his flattering.

In this piece, instead of a crow and a fox, I have shown a Qajar boy and girl.

The Fox and the Crow

Original Merikhi

Sohrāb comes across a fort between the border of Turan and Iran, where Gordāfarid's father defends the fort. Gordāfarid was also a very skilled fighter and archer. After Sohrāb captures the commander of the fort, Gordāfarid puts on battle clothes and goes to battle with Sohrāb herself.

Sohrāb had to use his shield against the rain of Gordāfarid's arrows. Then Sohrāb tears her war clothes with a spear, Gordāfarid draws a sword and breaks Sohrab's spear by landing it.

In the end, Gordāfarid is forced to run away from the battlefield towards the fortress, but Sohrāb stops her and Gordāfarid escapes from him with cunning and runs inside the fortress.

Gordāfarid was a champion who fought against Sohrab and delayed the Turanian troops who were marching on Persia. She is a symbol of courage and wisdom for Iranian women.

Gordāfarid

Maryam Mirzakhani (12 May 1977 – 14 July 2017) was an Iranian mathematician and a professor of mathematics at Stanford University. Her research topics included Teichmüller theory, hyperbolic geometry, ergodic theory, and symplectic geometry. In 2005, as a result of her research, she was honored in Popular Science's fourth annual "Brilliant 10" in which she was acknowledged as one of the top 10 young minds who have pushed their fields in innovative directions.

On 13 August 2014, Mirzakhani was honored with the Fields Medal, the most prestigious award in mathematics, becoming the first Iranian to be honored with the award and the first of only two women to date. The award committee cited her work in "the dynamics and geometry of Riemann surfaces and their moduli spaces".  
In 2009, she became a professor at Stanford University

She is definitely one of the greatest and most influential women in the history of Iran and I had the honor to design this icon with digital lithography style.

Professor Maryam

Merikhis Women

Sawulak takes his next action. He attacks the next good forces and absorbs their energy. He has grown larger, his forces have been updated and strengthened, and as you can see, he is killing the bull market.

I have inspired this piece from one of the ancient designs at Persepolis, a historical monument in Iran, where a lion is depicted hunting a bull. A relief depicting a lion and bull fight is visible at the entrance of the Apadana Palace, carved into the staircase wall. This unique artwork is not replicated anywhere else. 

In this piece, inspired by this prominent role, I have shown that Sawulak has attacked the bull market, which is considered a force for good in the world right now, and is taking his energy. As I said, Sawulak is trying to destroy the last remaining good forces on earth and one of the economic symbols is the bull market.

Sawulak Hunts The Bull

My profound fascination with mythology and its captivating narratives has consistently been a source of inspiration for me. Among the rich tapestry of mythologies, Greek and Persian myths hold a special place in my heart, providing endless enjoyment through my readings. 

In the latest installment of the Sawulak series, titled "Darkness is Here," I drew inspiration from Greek mythology, specifically from the character "Gaia," often referred to as "Mother Earth." In both ancient and contemporary depictions, Gaia is portrayed as cradling the Earth in her embrace.

Within this particular piece of Sawulak, the protagonist has successfully fulfilled his mission, as detailed in my full Sawulak story. He has vanquished all benevolent forces on Earth, bringing them under his dominion—effectively, Earth itself is under his control. The background also features Sawulak's companion, a reference to the piece titled "How Sawulak Met Pepe" within this collection.

Darkness is here

Path of the Sawulak

In this chapter of the tale, Nahid has captured the bear, a symbol of the bear market. This act is a direct counter to Sawulak's earlier deed, where he slayed the Bull (as detailed in the first part of the Sawulak story). Nahid is now in the process of destroying the bear, further weakening Sawulak's influence.

The presence of Sawulak is still felt, symbolized by the two-headed snake lurking in the background. This piece is a testament to the time and effort invested, with every symbol meticulously incorporated to enrich the narrative. It is hoped that this piece resonates with you.

The saga is far from over. Nahid still has tasks to accomplish before the story reaches its conclusion. Stay tuned for the unfolding chapters in this epic journey.

Nahid Hunts The Bear

A tale as old as time is reborn with a vibrant Persian soul.  
Nahid descends upon a world in disarray, a world where the once-revered Pandora's box has lost its luster and form, morphing into an Iranian pitcher—a vessel synonymous with the rich cultural heritage of Iran.

This pitcher, however, is no ordinary clay pot. It is the transformed embodiment of Pandora's box, the Greek mythological artifact that once contained all the evils of the world. In this reimagined scenario, the calamities unleashed by the box have ravaged Earth, leaving behind a landscape where hope is as scarce as water in a desert. Sawulak, a figure of destruction drawn from the depths of mythological darkness, has cast a shadow over the land, embodying the evils that once sprung from Pandora's fateful curiosity.

Nahid's mission is to restore balance, to bring back the lost value of life and the essence of hope that lingers in the pitcher, just as it remained in Pandora's box after all the other evils had escaped.

The Rebirth of Hope

A Star Is Born

"The Camel's Grudge" is a piece inspired by the Persian proverb "Keene-ye Shotor," which translates to "The Camel’s Grudge." In Iranian culture, there’s a belief that camels, despite their calm and steady demeanor, hold onto grudges for a very long time. They don’t forget offenses and wait for the right moment to act, much like how some people harbor resentment for years without showing it.

In this artwork, I wanted to bring that idea to life in a playful yet thought-provoking way. The camel at the center, with its sly smile, seems to have a secret—an old grudge it's holding onto, but not revealing just yet. The desert background, vast and quiet, mirrors the patience that comes with holding onto something for so long, waiting for the perfect opportunity to resurface.

I’ve always been intrigued by how certain emotions, like resentment or bitterness, can simmer beneath the surface while everything looks calm on the outside. The camel’s expression reflects that duality: peaceful, almost humorous, but with something more profound hiding behind that smile.

This piece is part of my ongoing exploration of blending traditional Iranian proverbs with a modern pop-art style, using fantastical creatures and expressive colors to breathe new life into these ancient stories. It invites the viewer to think about their own experiences with long-held feelings—whether it’s forgiveness or the slow burn of a hidden grudge.

The Camel's Grudge

This piece is inspired by the Iranian proverb "در دیزی بازه حیای گربه کجا رفته؟" which translates to "The pot is open, where has the cat's shame gone?" This saying is used to describe someone who is taking advantage of a situation when there is no supervision or control, often acting without shame when they have the opportunity to do something wrong. It speaks to human nature—when temptations are in front of us, do we have the discipline to resist, or do we indulge without concern for the consequences?

In this artwork, I’ve personified the cat as an old Iranian man with a thick mustache, sitting down to devour dizi, a traditional Persian stew. The cat's transformation into this human-like figure reflects the sly and opportunistic nature implied in the proverb. The setting is deeply traditional, with a Persian rug as the backdrop, grounding the piece in its cultural origins. The mustachioed cat, however, adds a touch of whimsy and humor, merging both nostalgia and satire.

The dizi pot in the scene is slightly overflowing, symbolic of indulgence and excess, and garlic cloves on the table add an earthy, real-world connection to the food culture. Surrounding the pot, you can see a small herbal arrangement, evoking both the simplicity and richness of Persian culinary traditions.

By blending these elements of old Persian culture with a fantastical, almost absurd character, I wanted to evoke a sense of playful critique—asking us to reflect on when we let go of our self-control and act purely on impulse.

The Shameful Feast

Mythic Whispers

Mōros is a surreal interpretation of the Drunkard from The Little Prince, trapped in a glass bottle, endlessly drinking to forget his shame—only to deepen it. Inspired by the Greek god of doom, Mōros represents self-destructive cycles and the illusion of comfort within them. The stars lie just beyond reach, but the choice to break free remains his. This piece reflects our own unconscious loops—habits we cling to, even when they harm us.

Mōros

B612

After conquering the lion, crossing the barren wastes, and slaying the dragon, Rostam enters a meadow so lush it seems a reward for his perseverance. Yet this paradise conceals a sly enchantress. Cloaked in beauty, she sets a banquet on a crimson cloth—goblets of wine gleaming like jewels, platters of ripe fruit bursting with color. Hidden among rose bushes, she steps forth, her raven hair and twilight-hued eyes captivating the weary hero.
With a voice like silk, she welcomes Rostam, pressing him to drink and rest. Jasmine and myrrh scents swirl as she pours wine, its surface dancing with motes of golden light. Unbeknownst to others, her intention is poison—or worse, a spell of eternal slumber.
Rostam, ever vigilant, studies her carefully. He notes that she avoids her own wine. Summoning divine courage, he insists she drink first and utters the sacred name of Ahura Mazda. Instantly, the glamour shatters: flowing robes collapse, revealing horns, jagged fangs, and clawed limbs. The table explodes under the force of dissolving magic.
Drawing his curved saber, Rostam strikes with unwavering resolve. Steel meets flesh in a single, decisive blow. The sorceress is bisected, her arcane power vanquished. Blood scatters across petals, then the air stills. Sunlight returns, unmarred.
This trial tests more than strength: it challenges purity of heart, clarity of mind, and faith. Rostam’s triumph affirms that spiritual armour can withstand the greatest deceits. Renewed, he mounts Rakhsh and rides on toward Mount Alborz, where his final trials await and where King Kay Kāvus endures the wrath of the White Demon.

The Fourth Labour

The Seven Labors

In this installment, we find Sawulak in a state of peaceful slumber after conquering the earth. To understand his journey and significance, I encourage readers to refer to the companion article titled "The Path of the Sawulak" (accessible at https://medium.com/@sariramerikhi/path-of-the-sawulak-8bff05f770bc). As he rests, Nahid, a celestial legend of benevolence, descends to earth, marking the beginning of a new and exciting chapter in this extraordinary tale.

I've titled this piece "Let There Be Light," inspired by one of the verses from the Bible. There's no longer a need to wander in the obscurity of sin and death; through Christ, we are assured that we will "never walk in darkness but will have the light of life" (John 8:12).

My profound fascination with mythology and its captivating narratives has consistently been a source of inspiration for me. Among the rich tapestry of mythologies, Greek and Persian myths hold a special place in my heart, providing endless enjoyment through my readings.

In the latest installment of the Sawulak series, titled "Darkness is Here," I drew inspiration from Greek mythology, specifically from the character "Gaia," often referred to as "Mother Earth." In both ancient and contemporary depictions, Gaia is portrayed as cradling the Earth in her embrace.

Within this particular piece of Sawulak, the protagonist has successfully fulfilled his mission, as detailed in my full Sawulak story. He has vanquished all benevolent forces on Earth, bringing them under his dominion—effectively, Earth itself is under his control. The background also features Sawulak's companion, a reference to the piece titled "How Sawulak Met Pepe" within this collection.

Sariraa.eth (SariraMerikhi)

Sariraa.eth (SariraMerikhi)

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