The history and the meanings of Lotus Flower in traditional symbolism:

The use of flowers in Eastern symbolism is both extensive and deeply rooted, present across the vast majority of traditional doctrines. Among these, the lotus—undoubtedly one of the most emblematic—occupies a privileged position in the symbolic language of the East.

One of the fundamental meanings of the flower as symbol is that of spiritual unfolding or blossoming. It corresponds to the feminine principle, the receptive pole of manifestation, being, and light—thus akin to the symbolism of the chalice. The blossoming of a flower signifies the expansion of manifestation and the irradiation of being and light. This layered significance is especially pertinent in the case of the lotus, which is, in the East, regarded as the most symbolic of flowers. Within the Hindu tradition, the cosmos itself is sometimes represented in the form of a lotus.

The lotus’s distinctive characteristic lies in its growth upon the surface of the waters, with these waters representing a particular ontological level—a specific degree in the order of manifestation. The conjunction of “lotus” and “water” in the Eastern symbolic framework stands in notable correspondence to the Western pairing of “rose” and “spear”—a symbolism associated with the episode of the spear and the blood, from which the red rose is said to have sprung. The underlying reasons for this symbolic parallel will be addressed in subsequent elaborations.

It is also worth emphasizing that the blossoming of the flower takes place concentrically around its center. The number of petals it bears holds a precise symbolic value: a five-petaled flower signifies the microcosm—man; whereas a six-petaled one signifies the macrocosm—the universe. Moreover, the floral symbol corresponds analogically with that of the wheel, the latter being associated with cycles—such as the cycle of life and death, and others. Thus, the lotus, in particular, partakes in this cyclic symbolism and may be understood as a figure of the perpetual rhythm of manifestation.

The Lotus in Ancient Egypt:

In ancient Egypt, the lotus possessed immense symbolic significance and was regarded as a plant highly esteemed by the gods. It functioned as a symbol of Upper Egypt, of the cyclical nature of life, of the sun, and of the solar deity Ra. Ra, the great solar god and one of the principal divinities of the Egyptian tradition, was believed to have emerged from the lotus. In numerous depictions, Ra is shown inhaling the fragrance of a lotus blossom which he holds in his hand—an image that conveys a profound metaphysical meaning.

The lotus was believed to bear an essential analogy to the sun itself, inasmuch as it would open at dawn and close at dusk, thus mimicking the solar cycle—blossoming with the rise of the sun and withdrawing with its descent. This rhythmic opening and closing established the lotus as a natural symbol of manifestation, radiance, and the temporal unfolding of being.

Osiris, another major deity within the Egyptian pantheon and ruler of the underworld, is frequently portrayed crowned with a diadem of lotus blossoms. The association of the lotus with Osiris further reveals its connection with the mysteries of death, regeneration, and the hidden dimension of existence.

In Egyptian art, the lotus also symbolizes the newly emerged earth arising from the primordial waters—a cosmogonic image that conveys the hidden genesis of the world, held in sacred silence and veiled by the divine. The lotus thus serves as a vessel for the ineffable mysteries of the gods.

The lotus, or blue water lily, naturally flourished in southern Egypt, while the papyrus plant was predominant in the north. In various surviving artistic representations—particularly in architectural columns and ceremonial vessels—these two plants are often depicted together. For this reason, some scholars have interpreted their conjunction as emblematic of the unification of Upper and Lower Egypt: the lotus representing the south, and the papyrus, the north. Their union, therefore, signifies not merely a political integration but a metaphysical harmony between complementary principles.

The Lotus in Persia(Iran):

In the civilization of Persia—particularly within Achaemenid art—the lotus appears with notable frequency and symbolic prominence. It seemingly served as one of the emblems associated with Mithra (Miθra) and Anahita (Arədvī Sūrā Anāhitā), the goddess of the celestial waters. It appears that the symbolic use of the lotus may have traversed from Egypt into Persia, and thence into the Indian subcontinent.

Some scholars propose that in the iconography of Mithra's birth, the object often interpreted as a pine cone—or at times, a rock—from which Mithra emerges, may in fact be a lotus bud. Such a reading would reframe the symbolism as a manifestation emerging from the floral matrix of being, rather than a rupture from inert matter.

Within Achaemenid architecture, the lotus is seen held in the hands of kings and nobles, and its form is found ornamenting friezes, column bases, and ceremonial reliefs. The symbolic proliferation of the lotus in Persepolis is particularly striking, where it is repeatedly carved upon walls and on the garments and hands of Median and Persian dignitaries in procession toward the Great King. At the tomb of Cyrus the Great, the lotus also appears carved in stone—further testimony to its metaphysical import. Moreover, this motif is frequently found upon Achaemenid seals, suggesting a widespread symbolic usage across the royal and priestly classes.

In later epochs, particularly during the Parthian period—an era characterized by a synthesis of Hellenistic and Persian artistic forms—the lotus retained its symbolic vitality. In the art of the Sasanian period, the motif appears again in full force; in the rock relief at Taq-e Bostan, for instance, Mithra is depicted standing upon a great lotus, thus reaffirming the flower’s role as a cosmic support or pedestal for the divine presence.

With the advent of Islam in Persia and the concurrent preference for non-figurative and abstract ornamentation in sacred art, the lotus motif gradually receded, giving way to arabesque patterns (eslimi) more in accordance with the spiritual principles of Islamic aesthetics. By the Safavid era, floral symbolism had evolved into new forms, including the pomegranate blossom and the Gol-e Shah Abbasi, which, though more stylized, retained echoes of the earlier sacred symbolism through their geometric and harmonious expression.