The Hidden Symbolism of Owls

In the paintings of Hieronymus Bosch, we can find hundreds and hundreds of fantastic creatures, but among all of them, what stands out most is the recurring presence of owls. These small birds with piercing eyes appear in many of his works, from his most famous paintings like The Garden of Earthly Delights, to drawings such as The Owl's Nest, but something all of these creatures have in common is that they always seem to be watching us with a fixed gaze. Art historians have been asking for more than 500 years what owls symbolised for Hieronymus Bosch, why he included them so often, and most importantly, how viewers of his time were meant to interpret them. To understand the symbolism of the owl in these works, we must first place ourselves within the medieval mindset. In medieval Christian culture, animals were not seen merely as natural creatures, each one carried a moral or spiritual meaning. For people of that time, there were good animals such as the lamb or the horse, and bad animals such as wolves, snakes, or bats. And within this classification, the owl was usually placed on the darker side. As a nocturnal bird capable of seeing in the dark but avoiding the light, it was associated with those who preferred darkness over light, in other words, with sinners who turned away from God. Some texts even linked it to the world of the damned. In purgatorial imagery, for example, phrases appeared saying that their houses would be inhabited by sorrowful creatures and that owls would make their nests there. Medieval bestiaries also described the owl as an animal that attracted its prey through deception in order to capture it. This idea was interpreted as a metaphor for the devil tempting unsuspecting souls. For this reason, in Christian symbolism, the owl came to represent the devil and his works. It was seen as a creature associated with the night, sin, death, and heresy. However, this negative view coexisted with other interpretations. The legacy of classical antiquity had not completely disappeared. Athena's owl remained, for some scholars, a symbol of wisdom and philosophy. In certain medieval monasteries, it was even regarded with a degree of sympathy as an image of the contemplative monk who keeps vigil at night. Its stillness during the day could be interpreted as a sign of meditation. For all these reasons, the owl in this period was, in reality, an ambivalent symbol. On one hand, it was conceived as a bird associated with knowledge. On the other, it was also a creature linked to darkness and sin. And Hieronymus Bosch, who lived immersed in this world of symbolism, knew how to fully exploit the allegorical richness of the owl in his paintings. Bosch included six owls throughout the Garden of Earthly Delights, many of them almost hidden among the multitude of details, and others placed almost as protagonists of the scene. Each one appears in a different context. As we saw in the previous video in which we analysed this work, the left panel represents paradise, the central panel represents the earthly garden, and the right panel is known as hell, and each of these panels contributes a particular symbolism. In the left panel, we find the first two owls. The most evident one hides in the famous Fountain of Life that dominates the centre of this section. In the spherical base of the fountain, Bosch painted an owl peeking through an opening, observing the entire scene. At first glance, it is not an element that attracts much attention, which reinforces its symbolic role as evil lurking, hidden in the heart of Eden. This unshakable owl represents the evil that has been waiting since the beginning, ready to tempt and condemn humanity. This idea is reinforced by the serpent coiled around a tree of knowledge on the right side. Both the serpent and the owl seem to anticipate the arrival of sin even in an environment that appears pure. Some scholars also point out the presence of a second owl in paradise, one that most viewers never notice. If we look toward the top of the mountain, we can see a tiny pink-toned owl. The colour of this animal is unusual in Bosch's work, since pink, which is also present in the robe of God, could allude to something benign. One possible interpretation is that this pink owl symbolises a form of divine wisdom present in the original creation, which later, after the fall, transforms into the corrupted wisdom represented by the darker owl of the fountain. In this way, Bosch subtly introduces into paradise the duality between innocence and deception, suggesting that the seed of sin was already present even in God's perfect world. Moving to the central panel, Bosch multiplies the presence of owls. Here, three have been identified. Two of them are more visible, placed symmetrically at each extreme of the panel, almost like dark sentinels. On the left, we can see a young man embracing a gigantic owl, almost his own size. The scene is disturbing. The man smiles and surrounds the bird with familiarity, as if it were part of his sensual games. On the right side, another unsettling owl rests on a strange structure that looks like a cracked egg or a giant shell, beneath which a couple decorated with cherries dances joyfully. Both owls face forward, looking directly toward the viewer with fixed sleepless eyes, which gives them a terrifying presence. Bosch painted these two birds deliberately facing the observer to emphasize their ominous role. None of these owls interacts tenderly with the humans of the garden. Instead, they watch silently, and their mere presence next to the human figures sends a clear message. Even in this garden of worldly delights, where men and women, descendants of Adam and Eve, surrender to sensual pleasures, evil is present and vigilant. Here, the owls embody the darkness hidden behind lust. While people amuse themselves, believing they are in a paradise, these sinister birds suggest that everything is an illusion. The young man who embraces the great owl, instead of another human being, could represent humanity surrendering to false wisdom or distorted love. A search for forbidden knowledge or pleasure that, in reality, leads to foolishness and sin. The third owl in the central panel is more hidden, yet it adds a powerful layer of symbolism. It is perched on the horn of a white unicorn in the middle of the scene. The unicorn is a fantastic animal that already appeared in the paradise panel and traditionally represents purity and chastity. Yet here, its long horn, a symbol of innocence, becomes a perch for the owl, which is an emblem of evil. This visual contrast suggests that innocence is being invaded by darkness. It is as if Bosch is showing that, in the frenzy of this earthly garden, chastity and virtue have been overtaken by sin. Modern critics have pointed out that the owl and the unicorn together represent the loss of innocence. The white unicorn appears stained by the presence of the dark bird, reinforcing the idea that triumphant lust has corrupted even what was once pure. Between this semi-hidden owl and the two dark owls that flank the scene, Bosch fills the central garden with watchful eyes of evil, embedding a moral warning beneath the apparent beauty. The naked figures, absorbed in collecting fruit and in their amorous games, completely ignore these birds. They do not seem to see the owl beside them or above their heads, which symbolises their blindness. The viewer, however, does perceive those penetrating gazes, creating a silent complicity with Bosch. We are warned of the presence of sin and deception, even if the characters themselves remain unaware. Finally, in the right panel appears the sixth owl, perhaps the most disturbing and explicit of all, since it is not a natural owl but a demon shaped like one, sometimes called the Prince of Hell. This creature occupies the centre of the infernal panel, enthroned on a chair that also serves as a chamber pot. It has the head of a nocturnal bird and the body of a grotesque amphibian or anthropomorphic creature. It is shown devouring a sinner while excreting others into a dark pit in a grotesque cycle of ingestion and expulsion. The image is shocking, yet deeply symbolic. The owl that hid quietly in the fountain of paradise has now become the visible ruler of the scene, a demonic executioner who punishes souls for their sins. Bosch uses this monstrous owl to personify the devil and the final destiny of sin. In the culture of his time, the owl was often associated with desolation and evil forces and here it literally becomes one. This owl demon presides over a torturous inferno and its presence completes the moral message of the triptych. Those who allowed themselves to be seduced by pleasure now become prey to evil. The owl that devours humanity closes the cycle that began with the hidden owl of Eden. Taken together, the presence of these six owls weaves a moral lesson throughout the garden of earthly delights. Each owl, in its specific position, contributes to the overall meaning of the work. In paradise, the hidden owl reveals that evil was already lurking from the beginning. In the central garden, the owls show that humanity lives in a hedonistic illusion, believing it is free, while evil observes and manipulates it. And in hell, the demonic owl finally exposes the deception, showing how fleeting pleasure leads to torment and how sin ultimately devours the sinner. But as I mentioned at the beginning of this video, this is not the only painting in which Bosch included owls to transmit hidden messages in his work. But before continuing with the other paintings, I would like to remind you that if you would like to have a work by Bosch in your collection, you can purchase it directly through the link in the description. In our catalogue, you will find more than 800 carefully selected artworks so you can choose your favourites and begin your own art collection. I will leave the link in the description so you can place your order once you finish watching the video. Now, let us continue. In the painting Exi Homo, created at the end of the 15th century, Bosch also included the enigmatic figure of a small owl. Although it may go unnoticed at first glance, this owl plays an important symbolic role. The scene shows Jesus, wounded and humiliated, presented by Pilate to an enraged crowd that demands his crucifixion. In this context, the owl acts as a symbolic indicator of the dark spiritual atmosphere surrounding Christ. Art historians note that Bosch deliberately placed animals considered emblems of evil to underline the moral corruption of the scene. Alongside the giant toad on a soldier's shield, the owl placed in the niche marks the climate of perversity and sin that permeates the moment. Its presence suggests that forces of darkness are lurking, or rather that the injustice and cruelty inflicted on Christ The owl in this work can also be interpreted as a symbol of the rejection of divine truth by the crowd. Christ is the light of the world, yet here the multitude chooses darkness. In line with medieval symbolism, the owl represents those who prefer shadow over light and who reject Christ. It is as if the bird embodies the heretical and unbelieving spirit of those calling for the crucifixion. Like owls, they remain spiritually in darkness before the luminous message of salvation that Jesus represents. In another of his paintings, known as The Wayfarer, Bosch presents a traveller confronted with a moral crossroads between two paths, that of good and that of evil. The scene can be read as the parable of the prodigal son who abandons a life of sin. On the left, there is a house of ill repute, possibly a brothel, and on the right, a path that leads toward virtue and salvation. In this context, the owl that Bosch paints above the tree functions as an allegorical indicator of the dark path of sin. It is not by chance that Bosch placed the owl on a withered branch, in contrast with another green branch that symbolises the virtuous way. The top of the tree opens into two directions, forming a shape that represents the choice between vice and virtue. Looking more closely, we realise that the owl is perched precisely on the dry branch, which in this context can be interpreted as a symbol of evil. Just below the owl, in that same barren area, Bosch painted a small bird that seems to be watched by the owl. This little bird represents naive credulity and can be understood as the unsuspecting victim of deception. The predator-prey relationship between the owl and the smaller bird embodies allegorically how sin lies in wait to capture the unwary. Evil, represented by the owl, feeds on the innocence or foolishness symbolised by the small and trusting bird. Within the central scene of another of his paintings known as The Highwayman, the inclusion of the owl also carries a clear narrative and allegorical meaning. The central panel shows a crowd of fools. Figures from every social class, including members of the clergy, follow the hay cart while surrendering to different sins and vanities such as greed, lust, deception and ambition. At the top of the cart, an angelic figure coexists with a blue demon blowing a trumpet. The angel looks upward in prayer while, on the hay, a wealthy couple enjoys music and gives in to lust, accompanied by their servants who play behind a bush. It is precisely in that bush where the owl is perched, silently accompanying them. Bosch uses the owl as a satirical observer. Its fixed gaze represents a hidden awareness within the scene, almost as if the demon were watching through the eyes of the bird. It has often been suggested that Bosch introduces the owl here to mock the foolishness of the characters. While the angel looks upward pleading to Christ in heaven, none of the humans seem to notice the divine presence above them. Only the owl remains attentive, observing everything from its branch. This creates a striking contrast. The owl symbolises a perverse lucidity that recognises the sinful situation while the mortals remain completely unaware and continue in their celebration. The owl can be seen as both a witness and a silent accomplice to human foolishness. Its elevated position above the figures even suggests an ironic superiority. Evil, personified through the owl, understands the scene better than the people themselves, reinforcing once again the idea that sin blinds humanity. After exploring his most emblematic paintings, it becomes clear that owls were one of the most ambiguous and recurring symbols in the work of Hieronymus Bosch. Although each owl appears in a specific context, they all share something in common. They should be understood as warning signs. Bosch used them not as simple birds, but as emblems that reveal hidden truths about sin, madness and the spiritual blindness of human beings. Seeing an owl in a painting by Bosch is an invitation to look beyond what is obvious, to read the symbols, to question the pleasure that seems so evident in many of his works and to doubt the false appearances presented by his characters. Thank you for watching this video until the end. I would love for you to leave a comment with your own interpretation of these creatures and if there is another owl that I may have overlooked, please let me know in the comments. See you in the next video.