Gol-o-Bolbol: The Transformation of the Sacred Plant in Iranian Art

One of the most beautiful romantic and mystical confrontations among Iranian artists and writers has been the confrontation between Gol-o-Bulbul (the flower and nightingale), in which Bulbul sits by the flower (beloved) like a lover.  This embodiment was strengthened by the Safavid painters and reached its peak during the Zand and Qajar periods.  The painting of Gol-o-Bulbul gradually expanded from bushes to “Golshan” with different flowers (Roses, Iris, Tulips, Liliums, Dahlias, Hyacinths, and Blossom). The aim of this article is to study the continuity and composition of the role of the sacred plant from ancient Iran to “Khatai” in the Islamic period and to “Golshan”.  This study seeks to answer these questions: what is the evolution of the sacred plant from the pre-Islamic period, to Khatai in the Islamic period, and to its transformation into Golshan? How can the belief in the human origin of the plants be explained in flowers and birds and what are the characteristics of birds? Has it been more widely used in Iranian literature in contrast to Gol-o-Bulbul? Then, referring to literary sources, the dignity of the Bulbul was recognized and the reason for its widespread use was explored.  The deployed research method is descriptive-analytical, and the data have been collected through library study.  In examining the history of Golshan, three patterns are encountered: first, Golshan with an indeterminate and dense growth section; Golshan with an indeterminate and circular (spiral) growth section; and patterns with a definite growth section, all of which are traced back to visual traditions of pre-Islamic periods, despite slight differences.