Ehrlik - The Blacksmith Of Zambe

Much of Ehrlik's work concerns the enslavement and manipulation of beautiful, blond men by those from other tribes* (erotically speaking). In this primitive world, clothing is sparse and brute strength and ruthlessness prevail over everything else. Thus this blacksmith is able to make a living out of forging the irons for an endless stream of young men chosen for eternal slavery. 

 My last Ehrlik post (Booty of the Ivory Isles) seemed to show another such man (or maybe it was this same one) en route to his appointment with the blacksmith, having fallen into the clutches of  hunter (or opportunist) out in the bush.

 

*As the caption indicates, women feature in much of this artist's work, 

and even this dominant male has a slightly androgenous look. 

 

Ehrlik - Slave Herd

This imaginative image illustrates the scale of this trade and the proliferation of muscular blonds available for trapping in this region. This might almost be a herd of human ponies running wild and ripe for the round-up, but they already bear the bonds of captivity and if you look closely you can just glimpse the drivers behind them wearing scary, tribal masks and urging them on. With their hands tied behind their backs, negotiating this rocky passage is an ordeal in itself, let alone what awaits them at their destination which I suspect is more likely to be a grimy, slave auction than a pleasant pasture. Even so it's in their own interests to arrive in prime condition and attract the richest buyer.

Ehrlik - Affixing The Collar

This laid back, arching pose is much favoured by Ehrlik - see the Lab-Rat and Test Subject posts. It's easy to see why, it puts a good selection of manly attributes on display and fetish fans can also appreciate the underlying stress of this position which will become more and more uncomfortable if prolonged and eventually pure torture, inescapable if imposed by restraints. 

Arranging the captive's head so it rests on the anvil for the procedure is a devilish, black twist on the part of the smith. If this is necessary for the collar to be affixed then it obviously won't be easily removed. The terrified captive can only pray that the smith has the skill to land his hammer on the metal round his neck, (he must do - mustn't he?) When he was free to roam he will have heard the stories of ritual sacrifice practised by these people (see A Hero Dragged to his Fate). He has no way of knowing if this is how it will end for him.

 

Ehrlik - The Caress of the Blacksmith

In this position, the openness of the captive's body invites inspection, which is not likely to be resisted. Ehrlik seems to capture our thoughts, allowing the blacksmith to lay down his hammer, pause and enjoy the succulent contours of this man's flesh.  Perhaps he's calming him, gently dousing his last, futile pleas for freedom now that the collar has irrevocably sealed his fate.

 The blacksmith may simply abusing his position of power here, deliberately forcing the captive into a provocative and vulnerable position for his own sexual gratification. But it's probably more complex than that. He can feel the tremours in his subject's body and savour them, able to distinguish whether this man is simply relieved that the worst is over or one who feels a perverse excitement at the reality of captivity and the caress of his tormentor. More commonly, he will be able to detect the distress signals of failing muscles and the manifestation of a deep, dark fear for the future.

 

 

Ehrlik - Branding The Slave

 

Any fear would be well-founded for it's not over yet. The blacksmith spreads the naked man on the bare soil and pauses to view him, spread at his feet, as he prepares finally to apply the white-hot brand that will forever condemn him to the status of a slave. He's thoughtfully provided the wretch with a gag that will avert self harm in the agonising wake of this sizzling coup-de-grace (and also minimise the disturbance for sensitive, nearby residents). The gag is the ultimate silencing of the captive's protests. The gaping, serpent-like head that houses the blazing, hot coals seems to crow in triumph and adds a sinister, paganistic presence to the cruel ritual. 

Perhaps having touched and enjoyed this young man's flesh, the blacksmith is reluctant to sully and scar it, but the position and angling the brand as he stands between his open legs suggest baser thoughts may be tempting him. However, the slenderness of the stem he holds seems to equally symbolise impotence, perhaps because it is forbidden by his own masters, rather than any physical limitation. 

~

 

I finally tracked down a site for Ehrlik - Blades of Zambe on Deviant Art,

 it's the same artist but using a different name.