Blue Lotus and Sayagata Sleeve
Blue Lotus and Sayagata Sleeve
Blue Lotus and Sayagata Sleeve
Woven, Not Painted
Most sleeves have a hero: a dragon, a koi, a mask. This one has a fabric. Blue lotuses float over a dark ground, and inside that ground runs sayagata, the interlocked geometric pattern of woven silk. Look once and you see flowers on black. Look closer and the black turns out to be woven.
Woven, Not Painted
Most sleeves have a hero: a dragon, a koi, a mask. This one has a fabric. Blue lotuses float over a dark ground, and inside that ground runs sayagata, the interlocked geometric pattern of woven silk. Look once and you see flowers on black. Look closer and the black turns out to be woven.
Shoulder Blade to Forearm
The piece is a three quarter sleeve that refuses to stay inside its borders in two places: a black cloud corner settles onto the chest, and a full panel of pattern and waves continues onto the shoulder blade. The lotuses are set at three heights - shoulder, inner arm, forearm - and the sayagata ground carries everything between them.
Shoulder Blade to Forearm
The piece is a three quarter sleeve that refuses to stay inside its borders in two places: a black cloud corner settles onto the chest, and a full panel of pattern and waves continues onto the shoulder blade. The lotuses are set at three heights - shoulder, inner arm, forearm - and the sayagata ground carries everything between them.
Brocade Under the Flowers
Sayagata is a chain of linked manji, a pattern with no beginning and no end - in Buddhist use it stands for continuity. The lotus is the opposite pole: a flower that rises clean out of mud, the classic image of purity. Putting one over the other reads as a quiet sentence: brief purity over endless time. Technically the pairing works the same way - soft rounded petals against strict geometry, and the grey waves with their curled foam negotiate between the two.
Brocade Under the Flowers
Sayagata is a chain of linked manji, a pattern with no beginning and no end - in Buddhist use it stands for continuity. The lotus is the opposite pole: a flower that rises clean out of mud, the classic image of purity. Putting one over the other reads as a quiet sentence: brief purity over endless time. Technically the pairing works the same way - soft rounded petals against strict geometry, and the grey waves with their curled foam negotiate between the two.
Straight Lines on a Curved Body
A geometric pattern is the hardest thing to put on an arm, because an arm has no flat surfaces. The sayagata here bends with the limb: the grid follows the roundness of the muscle, compresses toward the elbow, and stays legible in rotation without breaking its own logic. The lotuses sit on the stable planes, the clouds cover the transitions, and the extensions onto the chest and the blade give the pattern room to dissolve instead of stopping at a seam.
Straight Lines on a Curved Body
A geometric pattern is the hardest thing to put on an arm, because an arm has no flat surfaces. The sayagata here bends with the limb: the grid follows the roundness of the muscle, compresses toward the elbow, and stays legible in rotation without breaking its own logic. The lotuses sit on the stable planes, the clouds cover the transitions, and the extensions onto the chest and the blade give the pattern room to dissolve instead of stopping at a seam.
Fine Lines Inside the Black
The order of work here was unforgiving. First the outline of flowers, waves, and the borders of the ground. Then the ground itself: the dark fields shaded in and left to heal completely. Only then the sayagata, fine parallel linework laid over settled skin. Reverse that order and the pattern turns into a cover-up - the shading of the ground would bury part of the lines it was meant to carry. Color came last, as it always does: the blues of the lotus, two green seed pods, a few orange stamens. Nothing else.
Fine Lines Inside the Black
The order of work here was unforgiving. First the outline of flowers, waves, and the borders of the ground. Then the ground itself: the dark fields shaded in and left to heal completely. Only then the sayagata, fine parallel linework laid over settled skin. Reverse that order and the pattern turns into a cover-up - the shading of the ground would bury part of the lines it was meant to carry. Color came last, as it always does: the blues of the lotus, two green seed pods, a few orange stamens. Nothing else.
Cloth Made of Ink
The finished sleeve reads like a garment: a dark brocade wrapped around the arm with flowers resting on it. It is a restrained composition and a technical one. The pattern will keep the piece interesting at every distance - graphic from across the room, woven up close.
Cloth Made of Ink
The finished sleeve reads like a garment: a dark brocade wrapped around the arm with flowers resting on it. It is a restrained composition and a technical one. The pattern will keep the piece interesting at every distance - graphic from across the room, woven up close.
More Projects
Other large-scale pieces from the studio, each built as one composition.
More Projects
Other large-scale pieces from the studio, each built as one composition.
More Projects
Other large-scale pieces from the studio, each built as one composition.
Your Piece Is Next
Every project here began as one conversation. Yours can start the same way.
Your Piece Is Next
Every project here began as one conversation. Yours can start the same way.
Your Piece Is Next
Every project here began as one conversation. Yours can start the same way.
© 2026 All Rights Reserved | Bardadim.Tattoo
© 2026 All Rights Reserved | Bardadim.Tattoo
© 2026 All Rights Reserved | Bardadim.Tattoo