In “ The Many Colors of Love” Bahar is bringing back the sacredness of the feminine energy and the woman's body within the context of old-historic Iranian miniatures which illustrate scenes of Iranian literature. . During the centuries of patriarchy in most cultures around the world, depiction of feminine figures as sacred and powerful have been omitted from the religious and historic texts. Before that happened, themes of sacred feminine associated with wisdom, mystery, the unknown, intuition, love, beauty, and enlightenment, had been the subject of many poetry and literature in ancient cultures ,especially in Iran which is the country Bahar was born and raised in the first twenty six years of her life. In old literature of Iran, especially in Nezami’s book “Haft Paykar” there are stories featuring a “male protagonists, beginning with the hero’s desire for knowledge (the secret to some mystery) and ending with his desire for a woman. They feature gardens as their primary setting, the male characters find themselves in a position in which they intrude upon an exclusively female space and attempt to take the forbidden fruit for themselves. The garden is a place for love, but evidently not for its consumption.” There are lessons to be learnt, tests to be won over, and steps to be taken before the desired woman or the beloved accepts the male character as her legitimate lover. Sometimes the male character faces harsh lessons and consequences due to impatience or intrusion of the female’s space. . “These tales are further couched within a broader tale , the life and deeds of king Bahram Gor the legendary counterpart of Sasanian king Wahram as he is raised in exile comes to claim the Iranian crown twice repels a Chinese invasion and finally disappears into a cave during a hunt.” . This painting is inspired by an old miniature depicting “The center -point of Bahram’s career: when the king has secured his rule, subdued his enemies and married the princess of each of the seven climes- a veritable epitome of masculine prowess. The king builds a separate palace for each of his seven brides topped with a specially colored dome, black, yellow, green, red turquoise, sandal and white. Over the course of the week Bahram visits each princess on her respective day to be regaled with . A story then repeats the cycle and seven years go by. The seven stories are the cocoon or incubator that allows Bahram to transform from a king of will (personal force) into a king of Law / to enlightened justice) attaining first temporal and then spiritual mastery. The number seven and the colors are symbolic. Seven days of week- seven heavenly bodies with astrological import.” ‘These seven wives are the representation of seven heavenly realms- also five major planets Venus, Mercury, Mars, Saturn, Jupiter, plus Sun and the Moon, which are associated with the seven days of the week.’ They could also be the representation of the seven energetic centers, “chakras” of our physical body. Bahram symbolically visited one wife per night for seven years which is again symbolic of a time of incubation to be a superhuman in the body of a regular human, to gain wisdom and surrender into love,the feminine to transform him into a completely different king.