I thought it may be interesting to collate more of my published
Empire of the Petal Throne drawings. Apologies now for the poor quality photographs of the artwork, but I hope they are enough to give the general idea.
The Garden of Weeping Snows
Black pigment ink on 250gsm Bristol Board, 297mm x 420mm (ISO A3)
The condemned Wizard Nyélmu is imprisoned deep beneath the city of Jakálla, and the Singer of Doom lures the unwary through the poisoned gardens to meet their fates...
The River of Silence
Black pigment ink and permanent marker on 250gsm Bristol Board, 297mm x 420mm (ISO A3)
The River of Silence appeared as the front cover of the Excellent Travelling Volume #3. The Mrúr greet the unwary traveller as Srykárum, the Lord of Sárkus undead Cohorts looks on, and a priest of Durritlámish perform their rituals in the underground, or perhaps it is Death himself that awaits with the ziggurat island in the dark waters that flow beneath the city of Jakálla.
The House of Worms
Black pigment ink on 250gsm Bristol Board, 297mm x 420mm (ISO A3) (drawing approx. 250mm x 240mm).
The House of Worms is slated for a future cover of
The Excellent Travelling Volume. It was commissioned by James Maliszewski to illustrate the party of characters in one of his current
Empire of the Petal Throne campaigns. Each player had input and suggestion to the design and nature of each of their characters. Largely Tsolyáni followers of Sárku. the Five-Headed Lord of Worms with varying degrees of fanaticism and one follower of the cohort of Sárku, Durritlámish - the Black Angel of the Putrescent Hand, Opener of Catacombs.
The Livyánu
Black pigment ink on 250gsm Bristol Board, 210mm x 420mm (ISO A4).
The Livyánu are a mysterious, aloof and greatly tattooed people, followers of the Shadow Gods. The male warrior (top) wears the distinctive braided top-knot and is wielding a curved Chlén hide sword (indeed most of the weapons in the drawings are made of this material). The female noble may be a priestess of one of the Shadow Gods, wears nothing but the mask of Kírrineb - according to some - the chief female deity of the Livyánu and is accompanied by a child slave to carry the train of her head-dress, which is largely constructed of the ubiquitous Kheshchal feathers.
The Salarvyáni
Black pigment ink on 250gsm Bristol Board, 297mm x 420mm (ISO A3)
The Salarvyáni are bearded wine merchants whose cities suffer from poor sanitation. The male warrior (top left) is wielding a chlen-hide pole-arm and wearing long kilt. The female Lay Priestess is wearing an over-dress of transparent Güdru cloth in the process of casting the Energy Bolt spell.
The Salarvyáni characters appeared on the back cover of
The Excellent Travelling Volume #3 and the mask in the interior.
The Yán Koryáni and The Mu'uglavyani
Black pigment ink on 250gsm Bristol Board, 210mm x 420mm (ISO216 A4) (drawings approx. 190mm x 110 mm).
The Yán Koryáni are a matriarchal Empire to the north of Tsolyánu - and the main military threat to Tsolyánu. The female warrior (top left) sports a Khil - the traditional tall, plated helmet of the Yán Koryáni warrior, topped with a kheshchal plume, and is firing her crossbow from a low position for stability and accuracy. The male Priest of Dhárm (lower left) - who some equate with the Tsolyani Thúmis bu
t such speculation is largely moot, is in the process of casting Shield of Defence.
The Yán Koryáni were first published on the back cover of The Excellent Travelling Volume #4
The Mu'uglavyáni are a proud and officious people, even by Tsolyani standards. The Mu'uglavyáni Warrior (top right) sports the 'mohawk' hairstyle of his caste, the height of the crest suggesting he is a mid-rank nobleman. Whilst the priestess of Hŕsh (bottom right) is attired in traditional garb of her temple and is activating an Eye of Hastening Destiny.
The Mu'uglavyáni
were first published on the back cover of The Excellent Travelling Volume #5
A Meeting in No-Space
Black pigment ink on 250gsm Bristol Board, 297mm x 420mm (ISO A3) (drawing approx. 260mm x 270mm).
The image depicts a scene from M.A.R. Barkers first novel
The Man of Gold the meeting between Baron Ald, leader of the Yán Koryáni, the inscrutable Lord Fu Shi'i and Prince Dhich’uné (a devotee of Sarku, and would-be Emperor) whilst the alien Mihalli creates the space between worlds using an extraplanar orb. Commissioned by Howard Fielding of
The Tekumel Project, was published, in colour, as a limited edition art card.
The Southern Divers
Black pigment ink on 250gsm Bristol Board, 297mm x 420mm (ISO A3) (drawing approx. 260mm x 270mm).
The Southern Divers was also commissioned by Howard at the Tekumel Project . The Divers are Tsolyáni followers of Avanthe and her symbol (a golden globe with 5 azure blue tails) can be seen on the figurehead of the boat and can also be seen in the ribbon device that frame the picture. The divers are threatened by the terrible form of an Akho - Embracer of Ships - a mighty toothed and tentacled sea-beast.
My sketchbooks (ISO A5) contain several more unpublished works of Tekumelania in various stages of preparation, including the Gloves of Chiriné, as worn by a Nluss warrior, the Clockwork Automaton of Qiyor the Many Tongued, The Box of Nekkutháne and a Ngóro, Sakbe road tower greeting the passing of a High Clan Noble Lady and her entourage, Lay Priests duelling in a Hirilákte arena, Pé Chói tattooing, The Hlüss-mother and several others which will remain hidden until such time as the stars align aright.
