The seven-circle rosette is genuinely ancient. It appears in Assyrian palace decoration, on Roman mosaic floors, in Islamic geometric design, and on European folk carving and furniture, and Leonardo worked through the proportions of overlapping circle grids in his notebooks. None of that is in dispute.
What is modern is the name and the meaning. Seed of Life is not an attested ancient term for the figure. It belongs to the sacred-geometry literature of the later twentieth century, and its wide circulation dates from the workshops and books of Drunvalo Melchizedek from the mid-1980s onward, which set out a construction sequence running circle to vesica to Seed to Flower to Fruit to Metatron's Cube. That sequence is a modern teaching device. It is coherent, and each step in it is geometrically correct as a construction, but it is not recovered from any ancient source.
The reading of the seven circles as the six days of creation with a seventh of rest is likewise a modern overlay. Genesis contains no geometry, no ancient Jewish or Christian text identifies this figure with the creation week, and the correspondence works only because six is how many equal circles fit around one, a fact about the plane rather than about scripture.
Saying so does not diminish the figure. A pattern that masons in Assyria, mosaicists in Rome, tile-cutters in Cairo and cabinetmakers in the Alps all found worth drawing is interesting exactly as itself. The honest summary is that the geometry is old and widespread, the name is recent, and the interpretations attached to it are recent teachings that deserve to be presented as such rather than as recovered ancient doctrine.