The Celestial Bird -
Peacock

Morkuti Picchavai (Dance of the Peacock) - Cotton, 183 cm x
122 cm
The figurative patterns that were used in Indian and Persian art
were mostly allegorical and have symbolic significance; for example, in the textile
above, the peacocks dance for the attention of a flock of peahens - it is said
that, similarly, Lord Krishna danced like a peacock to court his beloved Radha.
In Persian art, the figure of the peacock is not only widely used in book
illustration, mural decoration, pottery, etc., but also in figurative patterns
in mosques.
In general, the image of the peacock is a cross-cultural symbol,
and in many cultures and traditions, the peacock appears as a symbol of
paradise, rebirth, the incorruptibility of the soul and a symbol of immortality.
The bird is also a symbol for the story of the heavens and hence, resurrection
and everlasting life. In the East, it represents a symbol of rebirth in the
mythology of Hinduism, Buddhism and Islam. The peacock also became a symbol in
Christian art and iconography. During the first ten centuries of Christianity,
the peacock was a popular symbol for Christ. It was also known as the symbol of
the resurrection, and in many medieval paintings, angels' wings are composed of
peacocks' plumes.
What
I am attempting to create here is a highly stylized form of a peacock. Smalti
and gold will be used as the main tesserae for this project. The figure will
also be highlighted with an assortment of jewels. As a departure from using
plywood as the base and then having it framed, I am using a picture frame molded
of resin, but possessing a wooden base... it is pictured on the left. Another
new material that will be used here is "transparent" smalti - tiles
that have all of the luminosity of jewels. Since these tiles and the jewels that
will be used stand out better against a white (or light) background, the base is
not stained prior to working on it. I did however, wash the base with a solution
of Weldbond and a tiny dollop of white acrylic paint. A siliconized-latex
adhesive (that dries white) will be used. As usual, the drawing was done on
transparent paper and then transferred to the base using carbon beneath it. The
jewels are set in mounts made of silver.
This is what the "transparent" smalti look like
---->  Set
about laying some of the jewels (white and bicolored sapphires, peridots and
citrines) around the neck and central torso. The eye is a single peridot. The
siliconized-latex ashesive being used is "gloss white" DAP Kwik Seal
Plus with Microban Antimicrobial Product Protection, obtained from Home Depot.
It claims to adhere to ceramic/plastci tile, glass/porcelain, cultured marble,
wood/metal, fiberglass and drywall. Proceeded next to create the
"eyes" in the plumes. They are composed of alternating circles of
peridots and midnight blue sapphires encircling a solitary circular bead of
jade.
Filled
in the neck and the surround using the transparent smalti, and white gold; am
not too pleased with the adhesive properties of Kwik Seal; will use Weldbond or
another siliconized-latex.
Worked
on the torso next; used square cuts of the transparent smalti for the most part;
it is bordered with white gold and metallic cobalt smalti (white gold under
cobalt glass); FYI....Kwik Seal did create quite a firm bond, BUT took almost
five days before doing so! The legs are composed of jewels encircling pale green
transparent smalti; the wings are "burnt orange" smalti divided by
pearls. Filled
up a little more spaces around the torso with transparent smalti....will be
working on the plumage next.
Started
filling in the plumage with white smalti...alternate feathers will be filled
with another color.
Completed
filling in the plumage with yellow and green transparent smalti...it's on to the
background next.
Started
working on the background...attempting a pattern in keeping with the
plumage....intentionally left a little space between the tile to resemble
grout... am using olive green and metallic cobalt smalti for the background.
Here
it is, in it's final form .........
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