Flower-Bird (Gol Morgh)

Gol Morgh (15)
Gol Morgh (12)
Gol Morgh (2)
Gol Morgh (8)
Gol Morgh (6)

The role of Flower-Bird(Gol Morgh) in Iranian painting:

The role of flower-bird, GolMorgh  is the most familiar style in Iranian painting that we all know and as its name implies, it is composed of two prominent elements of flowers and birds. Flowers and birds are a symbol of divine grace and the delicate manifestation of the Creator.

Flower and bird painting is a term used to describe a type of ancient Iranian painting that had the theme of flowers, leaves, birds such as nightingales and sometimes butterflies.

In this design, the flower and the birds are like a lover and a beloved  in a romantic debate, here the bird is a lover and the flower is a beloved.

 

These romantic debates have been mentioned many times in Persian literature.

The romantic conversation between flowers and birds is also likened to glorifying God and mentioning the truth.

In flower and bird painting, creating harmony between the painting elements is very delicate. The bird does not have to be drawn in the work, but if it is present, it is patiently waiting for the flower to bloom and make love with it.

 

The bird sometimes separates itself from the material world with its peak and state of intoxication and ascends to the immaterial world.

Painting flower and bird motifs and Iranian painting in general is not realistic and the painter is more or less free to choose his colors.

The elements of this painting are inspired by nature and elements such as flowers, trees, birds such as nightingales, peacocks and sometimes with insects can be seen next to these elements such as butterflies.

This painting was used to decorate various industries, such as book covers, mirror frames, pens, jewelry boxes, textiles and tiling.

 

Background of art of GolMorgh

(companionship of flowers with birds):

The exact history of this field of art is not known; But the selection and part of the flower or bird can be seen separately or mixed (next to each other, the flower and the bird) on the paintings left on the pottery of ancient Iran, the murals of the Sassanid period and some dishes that Iranian artists have used those patterns, arrays and motifs in their works.

Flowers and birds have been present in Iranian painting since the 9th century, but independent flowers and birds from the 11th century AH onwards are often painted and sit (single painting) on ​​the pages of Moraqaat.

In today’s works, a look at the design of symbolic birds, which are decorated with mystical and romantic secrets and are associated with traditional types of Iranian flowers, leads us to the conclusion that new spaces can be achieved in the light of Iranian teachings and ideals. , Immortalized the taste and feeling of the former artists of this land, and avoided creating works that are not related to the spiritual spirit of Iranian art or are not masterful imitations of traditional works.