On a hot afternoon, or perhaps on a cool evening, shrouded in pink twilight, during a break from preparing a family dinner, or perhaps after a working day, in the shade of trees in the courtyard, or within the walls of a cozy coffee shop, with a towel casually thrown over the shoulder, or in silk scarves—this meeting could take place under any circumstances and would be valuable for its strong friendship, ringing female laughter, and joy of life.
Pomegranates scattered at the feet of jugs are like a universal image that has been present in our lives since ancient myths: as a symbol of fertility associated with the most powerful goddesses, as a symbol of eternal life in Christianity, and as a symbol of paradise and God's blessings in the Koran, where this fruit represents the good deeds created by God. Thus, this pomegranate seems to add a blessed, vital and pure fullness to the story on the canvas.
But despite the apparent universality of the objects in the painting, the traditional woolen istang, against which these “friends” meet, nevertheless tells the viewer about the culture to which they belong.