Since 2022's Tinselling class was so enjoyable I am planning more tinselling classes for 2023.
Here are the next instalments - the Vizier, Shahzaman and Princess Dunyazad, already pre-approved by the discerning eye of my husband.
The sad and worried Vizier, agitated with a finger in his mouth, the slightly relieved but still sorry Shahzaman, the calmly listening and loyal Dunyazad:
- A question: would you like me to pre-paint the faces so you can just focus on the easier colour fill parts or you want to leave it in this black and white version for a colouring in + tinselling project?
Let me know, and I will scan it in for you in the most convenient format for you (majority). I've also left the beards for you faintly, since some of you might like to paint the beards too?
Shahriyar himself, the main man, the evil killer king, the murderous tyrant-turned-repentant-shah, is coming later this year... da da DAH...
...partly because I don't understand him yet.
These are the 'out-takes', I thought you might like to see, in the spirit of sharing:
My husband took one look at the above and burst out laughing. "That is NOT a man who is a killer king!!" he guffawed, "in fact - that is not even a man at all!" - ahem ahem, Persian gender-neutral painting and all... I am versed in the miniature painting tradition where men are signified by their beards and accessories, not necessarily by their manly stances. Also, the raised hand is a hand pausing to think... 'shall I let her live another day or not?'... but no, not good enough for my husband, who just raised an eyebrow and smirked. You can see I just started with the turban and then just gave up - abandoning this drawing as yes, I agree, not murderous enough. "Clearly I need to study more manly men in more detail, darling", I replied. He stopped laughing.
I used my miniature painting paper doll drawing aid (find it here: https://www.vaishaliprazmariteaching.com - if you wait a sec it should pop up for you to download - you have to make it yourself at home, follow the video instructions) and we agreed this was a better attempt. It still didn't pass muster, because apparently no manly man 'would put his hand on his leg like that' - I was attempting the 'aggressive man' pose you sometimes see men adopt in pubs or on public transport, ie. trying to take up as much space as possible. Shahriyar is not effeminate. Don't worry, I got him right in the end. You'll see at Christmas! I wanted him to be thinking, pondering, yet still all-powerful and unreachable, and it's also a reflection of my misunderstanding and confusion about his character.
'The thinking tyrant, the thoughtful murderer' - I definitely have mixed feelings about Shahriyar and I've written about this as part of my PhD research. He is an unforgivable murderer. Yet he also allows Shahrazad to speak - other kings in other times did not (there are other versions of different tales where the king replies to the queen 'no' - and kills her, thereby silencing her forever). Shahriyar does not silence Shahrazad, so there is a glimmer of hope. He does listen.
Worth thinking about because of this glimmer!
Yes, the long draped fabric sleeves are there because I couldn't be bothered to do so many hands, that's right.
Your beautiful last figure seem more philosopher or poet than killer, perhaps a bit sad, gentle and lost in thought. The killer king - I'm curious, was this his true nature, or only who he became after being so trusting and then betrayed? Was he was so hurt that he became a new person? Your image has a more youthful presence, perhaps before he learned the truth of his wife's betrayal before he was transformed, or as he was when not angry? Am I misreading the story?
Or, does the story say something about the nature of creativity: status, rupture and the urgency of expression? (B&W)