**The Tree-and-Bird Motif in Ancient Iranian Art and Tribal Weaving**
The tree-and-bird motif is one of the most enduring visual symbols in Iranian culture, appearing continuously from prehistoric art and Achaemenid–Sasanian iconography to modern tribal weaving. This motif conveys themes of life, fertility, divine protection, and the union of heaven and earth.
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1. Roots of the Tree-and-Bird Symbol in Ancient Iranian Art
In Iranian cosmology, the tree is the axis of life a connection between underground waters, the earth, and the heavens. Ancient texts refer to sacred trees such as Gaokerena in Zoroastrian mythology, a healing and life-renewing tree. The bird, by contrast, belongs to the realm of the sky. Mythic birds-like the Simurgh, the Homa, and other divine birds-act as messengers between worlds, symbols of spiritual ascent, protection, and fate.
When combined, tree and bird form a complete cosmic diagram:
Tree = Earthly life
Bird = Celestial spirit
Together = the harmony of nature, fertility, and balance
This combination appears in metalwork, seals, textiles, and architectural ornaments from the Elamite, Achaemenid, Parthian, and Sasanian periods.
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2. Transition to Tribal and Nomadic Art
As Iranian nomadic tribes developed their own weaving traditions, the ancient motif evolved into stylized and geometric forms, adapted to the loom and to the symbolic vocabulary of tribal women. Because tribal life is closely tied to nature, the tree-and-bird motif expresses:
the cycle of seasons
birth and renewal
the protection of the household
the spiritual guardianship of nature
Over hundreds of years, each tribe developed its own visual language, ranging from highly abstract forms to elaborate curvilinear designs.
