The Medes and The Achaemenians

THE ACHAEMENIANS
CONTD.

Persian Art
Through
The Centuries

Although Darius constructed a number of buildings at Susa, he is better known for his work at Persepolis (the palace at Persepolis built by Darius and completed by Xerxes), 30-km south-west of Pasargadae.

A view over Persepolis from the mountain Kuh-i-Rahmat

The decoration includes the use of carved wall slabs representing the endless processions of courtiers, guards, and tributary nations from all parts of the Persian Empire. Sculptors working in teams carved these reliefs, and each team signed its work with a distinctive mason's mark.

These reliefs are executed in a dry and almost coldly formal, though neat and elegant, style which was henceforth characteristic of Achaemenian art and contrasts with the movement and zest of Assyrian and neo-Babylonian art. This art was supposed to capture the spectator by its symbolism, and convey a sense of grandeur; artistic values were therefore relegated to second place.

A Section of the relief on the south wing
of the east side of the Apadana at Persepolis, showing
delegations of Babylonians, Lydians, etc.

The king is the dominant figure in the sculpture at Persepolis, and it seems that the whole purpose of the decorative scheme was to glorify the king, his majesty and his power.

Here, also we can see that the Persepolis sculptures differ from the Assyrian reliefs, which are essentially narrative and aim to illustrate the achievements of the king. The similarities are such, though, that it is obvious much of the inspiration for this sort of relief must have come from Assyria. Greek, Egyptian, Urartian, Babylonian, Elamite and Scythian influences can also been seen in Achaemenian art. This is perhaps not surprising, in view of the wide range of people employed in the construction of Persepolis.

Detail of an Assyrian refief carving from the palace
of Ashurbanipal, Nineveh (7^th century BC)
showing Ashurbanipal's defeat of the Elamites at the river Ulai.

Achaemenian art, however, was also capable of influencing that of others and its impress is most noticeable in the early art of India, with which it probably came into contact through Bactria.

The realism of Achaemenian art manifests its power in the representation of animals, as can be seen in the many reliefs at Persepolis. Carved in stone or cast in bronze, the animals served as guardians to the entrances or, more often as supports for vases, in which they were grouped by threes, their union a revival of the old traditions of tripods with legs ending in a hoof or a lion's paw. The Achaemenian artists were worthy descendants of the animal sculptors of Luristan.

The capitals of the Apadana at Persepolis
are crowned with stylized animal heads
- bulls, griffins, ...

Griffin's head,
detail from a capital at the
Apadana, Persepolis.

Silver-work, glazing, goldsmiths' work, bronze casting, and inlay work are all well represented in Achaemenian art. The Oxus treasure, a collection of 170 items of gold and silver found by the Oxus river date from the 5^th to the 4^th century BC. Among the best-known piece is a pair of gold armlets with terminals in the shape of horned griffins, originally inlaid with glass and coloured stones.

Massive gold armlet from the Oxus Treasure,
with terminals in the form of winged griffins.
Originally inlaid with glass and coloured stones.

Sumptuous golden drinking cup from the
Achaemenian period, found in Hamadan.
Ornamented with a stylized winged lion.

Achaemenian art is a logical continuation of what preceded it, culminating in the superb technical skill and unprecedented splendour so evident at Persepolis. The art of the Achaemenians is deeply rooted in the era when the first Iranians arrived on the plateau, and its wealth has accumulated throughout the centuries to constitute at last, the splendid realisation of Iranian art today.

Persian Art
Through The Centuries

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Persian History
The Achaemenians