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

Forugh Farrokhzad was an influential Iranian poet and film director. She was a controversial modernist poet and an iconoclast, feminist author. Farrokhzad died at the age of 32 due to a car accident.

She published Reborn in 1964. Her poetry at that time varied significantly from former Iranian poetic traditions.

Farrokhzad's strong feminine voice became the focus of much negative attention and open disapproval, both during her lifetime and in posthumous reception of her work.

Emphasizing human issues, she also calls for a recognition of women's abilities that goes beyond the traditional binary opposition

The crow is a symbol of blackness and depression, and these can be felt in Forough's poems and personal life, and of course she was smart, that's why I have added this symbol to this character. I made this piece with digital lithography and pop art elements.

Forough

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

In this opening piece, the Little Prince stands atop a human brain, symbolizing the tension between logic and emotion. He gently waters his rose, a representation of love and responsibility, encased in a fragile bubble. The stars in the background remind us of the vast universe we belong to, even as we navigate the intricate landscapes of our minds. This artwork captures the delicate balance between care and complexity, inviting reflection on what it means to nurture the things we hold dear

Logos

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

At midnight a monstrous serpentine dragon emerges from the forest; Rakhsh approaches his sleeping master and neighs and beats the ground so furiously, that he succeeds in waking him. Rostam looks around, but, seeing nothing, because the dragon has already vanished, grumbles and goes back to sleep. The dragon appears a second time and once again the faithful horse succeeds in rousing his master. Rostam is even angrier than before; but at this moment sufficient light is providentially given him to allow him to see the monster that has been causing Rakhsh such alarm. Rostam then slays the dragon.

The Third Labour

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

This artwork delves into the relentless nature of human ambition.
Inspired by the traditional Iranian lithography style, this digital lithograph captures the essence of ancient artistry while addressing timeless themes of human nature and aspiration. Even in death, the skeletal figure depicted in this piece remains consumed by the pursuit of power, offering a thought-provoking commentary on the unending cycle of ambition.

Gluttony of the mind

This is Nahid.  
Ever since she set foot on the ground (after Sawulak’s conquest of the world), she has faced such a scene.

There are no good forces on Earth, and Sawulak has destroyed all of them, and now strange and dark creatures rule the Earth. 

If you want to read about the Nahid character that I was inspired by, refer to this article: https://sariramerikhi.medium.com/a-star-is-born-ada9d6133447 

Inspired by Edvard Munch's painting "The Scream," Nahid has reacted to the Earth's situation in this way, and now she must take the next steps...

The Last Guardian

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

As the second piece in my 
ongoing series inspired by Antoine de Saint-Exupéry’s *The Little Prince*, this artwork draws upon the Persian proverb “پول بده سر سبیل شاه ناقاره بزن,” which roughly translates to “If you have money, you can even beat drums on the king’s mustache.” This saying underscores how wealth can open doors, buy comfort, and even sway those in power. In this imagined scene, the King tries to bribe the Little Prince into staying on his planet by offering him a grand title as a judge—assuming that money and status can fulfill any worldly desire. Yet the Little Prince quickly sees the emptiness of these offers in a realm where no one truly needs judging—except for one old mouse hidden beneath the King’s crown.

By placing the Little Prince atop the King’s mustache, I wanted to visualize the clash between power, wealth, and morality. The mustache symbolizes the King’s pride and authority, while the Little Prince represents innocence, curiosity, and an unclouded sense of right and wrong. The presence of the old mouse—small, insignificant, and easily overlooked—reveals that despite the King’s grandeur, his domain is hollow, propped up only by the illusion of influence and the promise of bribes.

This piece also highlights a core theme of the collection: the complex desires that drive human behavior. In a world where money is seen as a fix-all, what becomes of genuine connection, empathy, and authenticity? Like the King, many seek to validate themselves through wealth or power, forgetting that true fulfillment cannot be bought.

Just as the proverb reminds us that wealth-based loyalties are superficial, the Little Prince, with his simple heart and clear vision, refuses a meaningless role. In doing so, he questions not only the King’s authority but the very notion that money can solve every problem. 

Within the broader narrative of my collection, this second installment contrasts with the first piece’s focus on the tension between logic and emotion. Now, the spotlight shifts to the lure of wealth, the illusion of power, and the emptiness it can create. Through these images, I invite you to reflect on the nature of human desires: Are we truly satisfied with the comforts money provides, or do we still yearn for deeper connections and meaning?

Ultimately, this artwork offers a playful yet pointed commentary on how easily we can be swayed by the promise of riches, and how quickly we forget what truly matters. The Little Prince, perched on the mustache of a King who has everything yet nothing, urges us to reconsider our priorities and reflect on what we truly value.

Dolos

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

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)

Featured (0)

All Works (0)