Deep-rooted symbolism: The hidden meanings behind botanical art

The natural world has been referenced in works of art and literature for years, and it can be traced back right to the ancient world, in mythology and classical literature. Consider the works of the ancient Greek poet Sappho: she covered themes of desire, love, and heartbreak in her lyric poetry, and at the centre of many of her poems are nature-related metaphors and symbolism that drive her themes home to her audience. In particular, she aligns certain flowers and plants, such as violets, with purity and virtue and likens her romantic passions to wildflowers. Keep these early uses of botanical imagery in mind, because if you fast forward 2,000 years to the Renaissance period, ancient literature became one of the main inspirations to artists of the period, carrying forward the idea of using natural imagery in artwork present in antiquity.

Ancient tombs were often decorated with botanical imagery in the forms of garlands, fruits, and other foliage

Before we reach the Renaissance however, botanical symbolism was actually also widely used in another, albeit very different, area of the ancient world: Roman sarcophagi. These ancient tombs were often decorated with botanical imagery in the forms of garlands, fruits, and other foliage in order to symbolise the idea of the afterlife in Roman religious beliefs. If you look closer at some of these carvings however, you might find a gorgon face staring back! The Romans thought gorgons would ward off evil, and they commonly mixed mythology with botanical symbolism in their sculpture and art.

Jumping forward in time a little, medieval herbs and medicine also inspired the creation of botanical symbolism, with herbs such as hemlock (a poison) becoming synonymous with evil and death, and the clover, which was used to heal snake bites, coming to represent the Holy Trinity, according to the Roman writer Pliny. This was not only because the plant’s three leaves represented the Holy Trinity, but also because snake bites were a representation of the ‘original evil’, linking back to the story of Adam and Eve. Botanical symbolism was also common in the Bible as well, as Mary has often been described as a violet or a lily, to represent her purity and humility.

It was common for a carnation to be present in portraits of young women at this time, as the purpose of these portraits was usually to celebrate a marriage proposal

All of these natural metaphors and symbols were collected together by the artists of the Renaissance era, and it was during this period that we were finally able to ‘see’ the intentions behind this botanical symbolism within art. Take the carnation, for example. Its Latin name translating to ‘flower of the gods’, it was used within art as a representation of love, passion, marriage, and most importantly, divine affection or intention. This is why it was common for a carnation to be present in portraits of young women at this time, as the purpose of these portraits was usually to celebrate a marriage proposal, such as ‘Woman with a Pink’, a painting by Rembrandt van Rijn from the early 1600s.

Interestingly, it is not just the paintings or artworks themselves that make use of botanical imagery and symbols, but often the frames of these Renaissance artworks as well. While this seems to be more of a modern invention, we are seeing paintings from the Renaissance era being reframed into frames that use this botanical symbolism to add to the imagery present in the original artwork. In 2019, one of Italian painter Titian’s Madonnas, ‘Aldobrandini Madonna’, was taken out of a 17^th century frame and placed into a 15^th century frame that was decorated with garlands, fruits, and flowers. Peter Schade, the Head of Framing at the National Gallery – where this painting resides – said that this new frame was an ‘aesthetically harmonious setting’ for Titian’s painting.

Pink carnations, previously symbolising marriage, have now become a popular mother’s day gift, as they have come to symbolise gratitude and motherhood

Moving past the Renaissance on our chronological journey of botanical symbolism, we arrive at the Victorian era. The language of flowers is still something most people know about in the modern day, but if you don’t, just remember to never get your partner yellow roses when buying them flowers! Many elements of botanical symbolism from the Renaissance era and earlier can be found in this flower language. While violets still symbolise modesty and virtue in the same way they did in Sapphic Greece, and red carnations still symbolise passion and love, other botanical meanings have evolved with time. Pink carnations, previously symbolising marriage, have now become a popular Mother’s Day gift, as they have come to symbolise gratitude and motherhood.

In the modern day, we might not use this Victorian flower language as much, but botanical symbolism is often still present in our lives, even if it is more subtle. Natural imagery is seen more often in jewellery or tattoo designs, as well as to represent times of remembrance for those who gave their lives in war (poppies) or in a number of political campaigns (such as the sunflower for the Green Party in the USA). Even classical literature has come to make use of botanical symbolism just like in antiquity, such as the natural imagery throughout Virginia Woolf’s Mrs Dalloway that helps a reader make sense of its narrative (I should know, it might have been the subject of my English coursework in college…).

Even though the way in which we use symbols of the natural world has changed since their use was first recorded, it is clear that botanical imagery and symbolism in all forms of art and beyond is still such an important and impactful creative device, and to track its evolution through history is something I find to be fascinating!