The Ritual Role of Golnār – The Pomegranate Flower in Iranian Art and Culture

Volume 13, Issue 48
Summer 2025
Pages 50-57

Document Type : Research Paper

Authors

1 M.A. Student in Landscape Architecture, Faculty of Architecture, College of Fine Arts, University of Tehran, Iran.

2 Assistant Professor, Department of Advanced Art Studies, College of Fine Arts, University of Tehran, Iran.

Abstract
The pomegranate flower, known as Golnār, has been a prominent symbol in Persian poetry and literature due to its vibrant red color, representing beauty, fertility, immortality, and love. It is one of the most beloved and widely used motifs in Iranian art. Persian poets have employed this symbol to express deep emotions and various concepts; for instance, the red pomegranate seeds are often compared to a lover’s lips, making the fruit a recurring emblem of love and beauty in poetry. In Persian literature, the pomegranate is considered a heavenly fruit, and divine religions have referenced its presence in paradise. Additionally, the infallible Imams have emphasized the significance of consuming this sacred fruit. Archaeological evidence highlights the depiction of pomegranates on pottery from the third and fourth millennia BCE. The earliest decorative motifs featuring pomegranates date back to the Parthian period, including the Yadzgard Fortress and other examples found in Sassanian stucco decorations (in Kish, Nezamabad, Ctesiphon, and others). During the Sassanian and Islamic periods, this motif remained an important symbol, frequently appearing in tilework, various decorations, and carpet designs. A notable example is the bas-relief at Persepolis, where an Achaemenid king holds a Golnār with two buds in his hand, symbolizing peace and friendship. This imagery is also associated with Anahita, the goddess of fertility and abundance, reflecting the deep-rooted significance of the pomegranate flower in ancient Iranian beliefs.

Keywords

•The Holy Quran (M. Elahi Ghomshei, Trans.). (2007). Center for Quran Printing and Publishing.
•Adelzadeh, P., & Pashaei Fakhri, K. (2015). A study of the pomegranate in mythology and its reflection in Persian literature. Journal of Stylistics of Persian Poetry and Prose Bahar-e Adab, 8(1), 362–374.
•Ahangari, B., & Hoseini, S. R. (2021). Investigating the effect of Sassanid decorative motifs on the altar decorations of Jameh Mosque of Urmia. JRIA, 9(3), 61-80. https://doi.org/10.52547/jria.9.3.3
•Darvishi, N. and Narimani, S. (2022). The Symbolic Role of Tulip and Pomegranate Flowers in the Tiling Art of Iran and Ottoman Turkey. Journal of Art and Civilization of the Orient, 10(35), 23-28. https://doi.org/10.22034/jaco.2022.329920.1234
•Ferdowsi, A. (2006). Shahnameh of Ferdowsi. Barg Negar Publishing, Naqd-e Afkar Publishing, Afkar-e Jadid.
Ghirshman, R. (1991). Iran; parter und sasaniden‬ (B. Farvoshi, Trans.). Antsharateh elemeeh ve ferahnegeeh. (Original work published 1895)
•Hall, J. (2001). Illustrated dictionary of symbols in Eastern and Western art‬ (R. Behzadi, Trans.). Ferahnegeh measr. (Original work published 1917).
•Karimi, M. Y. (2004). The history of architectural art in the Islamic period. SAMT Publicatios.
•Keshmiry, M. (2015). An Analysis of Pomegrante Flower Pattern in Iranian Art From Ancient to Saljuk Reign. Pazhuhesh-e Honar, 5(10), 11-24.
•Koulabadi, R. (2009). An investigation of works attributed to the water goddess Anahita in the Sassanid period (Master’s thesis, University of Sistan and Baluchestan).
•Lakpour, S. (2010). Archaeological excavations and studies in Darreh Shahr (Simareh). Pazineh Publishing.
•Mirheyder, H. (1996). Herbal knowledge: The use of plants in the prevention and treatment of diseases. Islamic Culture Publications.
•Mobini, M., & Shakarami, T. (2021). Continuity of Sassanid Motifs in Stucco Decorations of Seymareh Mosque. Negareh Journal, 16(60), 77-95. https://doi.org/10.22070/negareh.2020.5119.2396
•Mobini, M., & Shakarami, T. (2022). Continuity of Sassanid Motifs in Stucco Decorations of Seymareh Mosque. Negareh Journal, 16(60), 77-95. https://doi.org/10.22070/negareh.2020.5119.2396
•Montashari, M. (2018). The influence of Sassanid stucco art on stucco decorations of architecture from the 1st to 5th century AH. Journal of Scientific and Specialized Architecture of Green, 3(8), 55–68.
•Motahhari, M. (2015). Mutual services of Islam and Iran. Sadra Publications.
•Panjehbashi, E., & Doolab, F. (2018). Study of Siraf Plant Motif in Relief Works of Sassanid Era. Glory of Art (Jelve-y Honar) Alzahra Scientific Quarterly Journal, 9(2), 21-38. https://doi.org/10.22051/jjh.2017.7787.1040
•Pop, A. U., & Ackerman, P. (2008). A Survey of Persian Art, from Prehistonic to the Presen. Entesharat elmi ve fareangi. (Original work published 1969).
•Pope, A. U. (2011). A survey of Persian art, from prehistoric times to the present (N. Daryabandri et al., Trans.). Scientific and cultural publications. (Original work published 1969)
•Shahroudi, E. B. (2005). Khosrow and Shirin: A story based on Nezami Ganjavi’s poem. Jarras Publishing.
•Yahaghi, M. J. (2007). Encyclopedia of myths and story motifs in Persian literature. Farhang Moaser.