عنوان مقاله [English]
The essence of Islamic arts is painting and the motif of Gol-va Morgh (flower and the bird) plays a small part in the realm of Iranian-Islamic arts and crafts. This feature is derived from the worldview and ideology of Islam and the origin of its artistic creativity has a pre-textual system of representation. The story of the Gol-va Morgh can be analyzed with the method of Panofsky's iconology. Nonetheless, here we are faced with a theme that does not evidently deal with a specific story or event. Therefore, in this step, the analysis of the content of the work should be completed in a methodical and systematic manner, thus, in the present article, Gilbert Doran's mythology method is applied by the author. The findings of the research indicate that the roots of Gol-va Morgh can be found in archetypes, mythology and mystical-romantic literature of Iran. In the repeated encounter of the Gol-va Morgh, a cycle that continuously creates and elevates can be distinguished. In every presence of this motif, a power or force that leads to a new creation is identified; subsequently, the archetypal theme of the Gol-va Morgh is the phenomenon of "new creation".
Scrutinizing the symbolic motif of Gol-va Morgh according to Gilbert's mythology.
Examining the symbolic role of Gol-va Morgh in the Safavid to Qajar period.
How is the symbolic motif of Gol-va Morgh presented according to Gilbert's mythology?
How is the motif of Gol-va Morgh presented in the art of the Safavid to Qajar periods?