Path of the Sawulak

Sarira Merikhi
13 min readMar 12, 2023

Introduction:

This is the first story that I’ve been inspired by old mythical creatures from different cultures, I’m very excited about the overall idea and the direction it’s going and every piece it’s going to fit into. In this story, I am going to use the elements related to the events that are happening nowadays, especially the things that are in crypto culture, Web 3 and NFTs.
As we can see in history, since humans started living on this earth, they have gone through many ups and downs, but in the last century, everything has turned dark, events like World wars, mass slaughter of humans, genocide, consumerist life, global warming, extinction of important animal species, etc.

Introduction of The story:

one of the mythical characters that I inspired is Baphomet which is a deity allegedly worshipped by the Knights Templar although occasionally purported to be a deity or a demon.

Baphomet

The other one is Belphegor that also he is the chief demon of the deadly sin known as Sloth in Christian tradition.

Belphegor

The rest of the characters are like Ronove, Zahak, Śrīmad-Bhāgavatam, Set (deity), etc.
you can read about them in the links that I attach to the words.

AND NOW THE STORY OF SAWULAK:

1.

I want to describe the story of Sawulak demon in this way that now is the time to raise him up.
Why Sawulak? Because this name is made up of two parts, “Sawul” and “ak”, the first part is the name of a mythical legendary demon of ancient Iran called Sawul, and the second part is from the name of Zahhak, who was a cruel mythical ancient king of Iran.
Now that the darkness has covered the world and humans are making the conditions on the planet more difficult every day, things like wars, bad economic situation, global warming and many other things are ready for Sawulak (that has been sleeping for years) to wake up and take the energy of the good forces that exist in the world from them and expand his territory and plunge the world into pure darkness.
He has now woken up from his cave where he has been sleeping for years because of the evil conditions in the world and he is going to set foot on his path.

The awakening of Sawulak

The Sawulak Rises

And now Sawulak has taken his first step on this path, attacking the first pure force in the world to receive his first energy.
He takes his energy in the form of fire in his hand, and the more energy he receives, the bigger the flame becomes.
Here I have discussed the symbols that are derived from characters like Lucifer and the characters of clean energy in this piece are children who I have drawn in the form of innocent birds and he is poisoning and destroying them with his spray to get more energy.
As I said, this energy appears as a flame in his hands. Now Sawulak has recovered a little and wants to continue on his way…

The Sawulak Rises

How Sawulak met Pepe

Pepe the Frog is a cartoon character and Internet meme created by cartoonist Matt Furie. Designed as a green anthropomorphic frog with a humanoid body, Pepe originated in Furie’s 2005 comic Boy’s Club. The character became an Internet meme when his popularity steadily grew across websites such as Myspace, Gaia Online, and 4chan in 2008. By 2015, he had become one of the most popular memes used on 4chan and Tumblr. Different types of Pepe memes include “Sad Frog”, “Smug Frog”, “Angry Pepe”, “Feels Frog”, and “You will never…” Frog.

The meme took off among 4chan users, who adapted Pepe’s face and catchphrase to fit different scenarios and emotions, such as melancholy, anger, and surprise.

And now Sawulak continues on his way after taking the first energy, he finds a friend here. Sawulak is always looking for friends and energies such as depression and ugliness to make friends with them and increase his energy, that’s why he becomes friends with Pepe here, I represent Pepe as a dark force. In order for the Pepe I have drawn to be unique, I have drawn the position and type of Pepe from a behavior model in Iranian society, this sitting model is famous in Iran since old times, even the type of hair and mustaches.

How Sawulak met Pepe

Sawulak Hunts The Bull

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. From the carved motifs and accompanying commentary, it can be inferred that this work dates back to the early years of Achaemenid rule. (Approximately 2500 years ago).
In the ancient world, before the development of calligraphy, people relied on visual communication through image culture. As a result, image event writing became a prevalent form of communication.

The descriptions of conquests, wars, killings, and captivity, as well as all other significant events, were narrated through stone carvings or reliefs. The relief on the wall of Persepolis has been the subject of many interpretations and narrations.
One such interpretation is that of Roman Grishman, a renowned American archaeologist, who believes that the relief depicting a lion and bull fight at the entrance of the Apadana Palace signifies the change of seasons and the end of the cold half of the year. This text describes the beginning of the warm half of the year, which is commonly known as the start of spring. Some people interpret the cow and lion in this context as symbols of two tribes, the Medes and the Persians. According to this interpretation, the Persians defeated the Medes and displayed their victory in this way.

Sawulak Hunts The Bull

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, and now he has done this and will move on to his next move…

And now

SAWULAK THE PUPPET MASTER

Sawulak, with an infusion of boundless energy derived from his previous actions, now forges ahead on a transformative journey towards acquiring even greater forces. His stature has magnified, and his power has intensified to a remarkable extent, endowing him with the ability to exert control over every facet of existence. As expounded upon in this captivating narrative, the world finds itself engulfed in a pervasive gloom, characterized by an unrelenting succession of conflicts, adversity, and malevolence.

Drawing inspiration from the mesmerizing realm of puppets, I present this piece of artwork that delves into the very essence of Sawulak’s dominion. Within this composition, Sawulak’s commanding presence is strikingly manifested as he deftly manipulates a human figure, an embodiment of the callous individuals who instigate wars and perpetrate heinous massacres. Moreover, his unwavering influence extends to the realm of politics, where he skillfully governs and controls those policymakers whose actions contribute to the deterioration of our world with each passing day.

Amidst this piece, a woman stands as a poignant symbol of innocence amid a chaotic backdrop. Her presence serves as a stark reminder of the countless innocent souls whose lives are impacted and forever altered by the dire consequences of conflict and injustice. Through this piece, I strive to evoke contemplation and empathy, shedding light on the stark realities that plague our existence.

Darkness is coming…

The “waq” or talking tree motif holds the sixth position among the seven motifs and archetypes of Iranian art, encompassing painting, book layout, carpet weaving, pottery, and architecture. This motif, deeply rooted in Iranian and Islamic imaginative art, is concealed within legends and stories. It depicts a tree bearing human and animal-like fruits and has been present in various artistic forms. Originating in the 6th century Hijri in the East, the waq motif holds a significant role in Eastern art, particularly in Mongolian and Indian carpets. The motif’s genealogy ties it to the reverence of trees in ancient myths and societies. This sacred relationship stems from the belief that trees symbolize cosmic secrets and creation. This connection has led to ritualistic practices and artistic expression across cultures. In Iranian art, the naqsh waq motif, introduced in the 6th century Hijri, combines plant elements, flower leaves, human, and animal faces, adorning book margins and covers. Its title is rooted in a legend from Wag Wag islands. The talking tree and waq waq tree are legendary examples that have influenced Islamic culture and art through their magical narratives, contributing to unique designs. Iranian painters expertly merge decorative and imaginative aspects in their portrayal of waq motifs. These motifs, characterized by combinations of natural or imaginary animal heads, slime, Khatai stems, and flowers, are prominent in Iranian carpet weaving, featuring in designs like bergamot and tree patterns. The waq motif serves as a foundational element in Iranian art, evident in various paintings and carpet designs.

In some communities, tree had been revered and worshiped. Tree in its oldest vision is a giant cosmic tree, which is the symbol of the universe and Creation. With regards to the close relationship between the tree and human life, many communities have attributed a sense of sanctity to the tree.

The relationship between the man, the tree and its holiness was in a way that people in some communities believed man was born from the tree. This belief affected a part of the ritual, magic and aesthetic ceremonies of some nations. On the other hand, in some images, this is the tree which has grown out of the human body.

The Talking tree and Wak Wak tree are instances of legendary trees which have entered into the Islamic art and culture.The different forms of illustrations of Wak Wak which have been drawn by Iranian painters depict the blend of the decorative and imaginative compositions in a beautiful manner.

Within this composition, I have deftly employed the imagery of the tree to symbolize both the profound beauty innate to humanity. As you engage with the piece, it becomes evident that Sawulak, depicted here as a figure with demon-like attributes, has orchestrated a striking narrative. He strategically adorns the tree with elements of beauty, predominantly drawn from the elegance found in women, thus intertwining the symbolism of the tree with human form.

In this rendition, Sawulak’s presence serves as a catalyst, transforming the tree into a captivating embodiment of his artistic prowess. The deliberate arrangement of these feminine visages signifies a deliberate fusion between human beauty and the organic world. This fusion, represented by the tree, conveys an intriguing dichotomy that speaks to the duality inherent in both nature and humanity.

Through this creative manifestation, Sawulak effectively establishes a sense of dominion over the symbolic tree. His engagement with the imagery is an embodiment of his artistic authority, allowing him to seamlessly merge the beauty of women with the strength of the arboreal form.

As the artwork unfolds, the transformation that Sawulak undergoes becomes a metaphorical narrative thread. The act of adorning the tree with these expressions of beauty serves as an allegory for his absorption of the diverse aspects that define humanity’s essence. This artistic conquest is palpable, as he imbues the tree with an effervescent vitality that mirrors his own creative energy.

Sawulak’s position at the precipice of this arboreal realm captures a moment of profound anticipation. As he basks in the enchantment of his artistic triumph, the imagery subtly alludes to his readiness for the journey ahead. The gathering of humanity’s myriad attributes signifies a pivotal juncture.

In essence, this composition becomes a multi-layered exploration. It not only highlights the artistic dialogue between human beauty and the natural world but also symbolizes Sawulak’s artistic maturation. The fusion of visual elements and symbolism within this piece beckons the viewer to delve into the complexities of creativity, humanity, and artistic progression.

Sawulak has now assimilated nearly all the positive energies from the surroundings and is proceeding along his path with unwavering vigor.

LAST PIECE OF THIS SERRIE

Darkness is here…

Darkness is here

To begin, I must first start with the sources of inspiration.

Gaia was the Greek goddess of Earth, mother of all life, similar to the Roman Terra Mater (mother Earth) reclining with a cornucopia, or the Andean Pachamama, the Hindu, Prithvi, “the Vast One,” or the Hopi Kokyangwuti, Spider Grandmother, who with Sun god Tawa created Earth and its creatures.

In Greek mythology, Gaia Ancient Greek a poetic is the personification of the Earth. Gaia is the ancestral mother — sometimes parthenogenic — of all life. She is the mother of Uranus (Sky), from whose sexual union she bore the Titans, the Cyclopes, and the Giants; as well as of Pontus (Sea), from whose union she bore the primordial sea gods. Her equivalent in the Roman pantheon was Terra.

The Greek name Gaia Ancient Greek is a mostly epic, collateral form of Attic and Doric perhaps identical both meaning “Earth”. The word is of uncertain origin. Beekes suggested a Pre-Greek origin.

In Mycenean Greek Ma-ka also contains the root ga-.

Hesiod’s Theogony tells how, after Chaos, “wide-bosomed” Gaia (Earth) arose to be the everlasting seat of the immortals who possess Olympus above. And after Gaia came “dim Tartarus in the depth of the wide-pathed Earth”, and next Eros the god of love. Hesiod goes on to say that Gaia brought forth her equal Uranus (Heaven, Sky) to “cover her on every side”.[12] Gaia also bore the Ourea (Mountains), and Pontus (Sea), “without sweet union of love” (i.e., with no father).

According to Hesiod, Gaia conceived further offspring with her son, Uranus, first the giant one-eyed Cyclopes: Brontes (“Thunder”), Steropes (“Lightning”), and Arges (“Bright”);[15] then the Hecatonchires: Cottus, Briareos, and Gyges, each with a hundred arms and fifty heads. As each of the Cyclopes and Hecatonchires were born, Uranus hid them in a secret place within Gaia, causing her great pain. So Gaia devised a plan. She created a grey flint (or adamantine) sickle. And Cronus used the sickle to castrate his father Uranus as he approached his mother, Gaia, to have sex with her. From Uranus’ spilled blood, Gaia produced the Erinyes, the Giants, and the Meliae (ash-tree nymphs). From the testicles of Uranus in the sea came forth Aphrodite.[17]

By her son, Pontus, Gaia bore the sea-deities Nereus, Thaumas, Phorcys, Ceto, and Eurybia.

Gaia was worshipped under the epithet “Anesidora”, which means “giver of gifts”. Other epithets were Calligeneia (born beautiful),[40] Eurusternos (goddess with a broad chest), and Pandôros.

In ancient times, Gaia was mainly worshipped alongside Demeter and as a part of the cult of Demeter and does not seem to have had a separate cult.

………………….And now about this piece……………………

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 (accessible through the descriptions of the individual pieces and my Medium articles). 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.

I always strive to incorporate meaningful elements, symbols, and intricate details into my work, and this final installment of Sawulak is of particular significance to me, as it required an immense amount of dedication and effort. I sincerely hope you find this piece enjoyable.

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