Persian pottery fragment depicting King Bahram Gur hunting with Azadeh. The glazed fragment was originated in Kashan, and it dates back to the late 13th century and early 14th century CE. The Pergamon Museum, Berlin, GERMANY.
The Inscription of Sargon II at Tang-i Var is a significant historical artifact that provides valuable insights into the reign of Sargon II, a king of the Neo-Assyrian Empire. Sargon II ruled from 722 to 705 BC and is known for his military campaigns and expansions of the Assyrian Empire.
The inscription (in Akkadian) is located at Tang-i Var, a site in present-day Iran. It is carved into the rock face and commemorates one of Sargon II's military victories. The text is written in cuneiform script, which was the writing system used by the ancient Assyrians and other Mesopotamian civilizations.
Part of the text of the inscription
The inscription details Sargon II's campaign against the kingdom of Urartu, a rival power located in the region around Lake Van in modern-day Turkey. It describes the Assyrian army's march through difficult terrain, the battles they fought, and the eventual defeat of the Urartian forces. The text also mentions the capture of Urartian cities and the plunder taken by the Assyrians.
One of the notable aspects of the inscription is its depiction of Sargon II's military strategies and the logistical challenges he faced during the campaign. It provides a glimpse into the tactics and organization of the Assyrian army, which was one of the most formidable military forces of its time.
The Inscription of Sargon II at Tang-i Var is an important historical source for understanding the political and military history of the Neo-Assyrian Empire. It also offers insights into the cultural and religious beliefs of the Assyrians, as the text includes references to divine intervention and the role of the gods in the outcome of the campaign.
A sketch of the petroglyph and the text of the inscription
Beautiful, right? When they first started laying this stuff across the Atlantic during the late Victorian, people made this stuff into souvenir jewelry:
Dovetail joints have been used in woodworking for thousands of years. About 2,500 years ago in ancient Iran (Persia) they were also used in the construction of Achaemenid palaces (such as Persepolis, Susa or Bardak Siah Palace in Bushehr province in the south of Iran). (550 to 330 BC). They were used to connect different stone parts of the structures.
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Joining two pieces of stone with a dovetail joint at Persepolis.
This method has also been used in Urartu, Median, Egyptian, and Greek civilizations.
The Shikaft-e Golgol-Gulgul site is indeed a significant historical and archaeological location in Iran, featuring an Assyrian rock relief and inscription.
The inscription refers to the conquest of Elam and Lorestan by the Assyrians. This reflects the expansion of the Assyrian Empire into these regions.
The Assyrian Empire, which existed from roughly the 25th century BC to the 7th century BC, was known for its military prowess and expansive territorial control.
The relief at Shikaft-e Golgol-Gulgul is a testament to their reach and influence in the ancient world. Such inscriptions and reliefs are invaluable for understanding the history, culture, and political dynamics of the Assyrian Empire and its interactions with neighboring regions like Elam and Lorestan.
The Anubanini rock relief, also known as the Sar-e Pol-e Zahab rock relief, is a significant archaeological artifact located in western Iran, near the town of Sarpol-e Zahab in Kermanshah Province.
The rock relief is believed to date back to either the Akkadian Empire period (circa 2300 BC) or the Isin-Larsa period (early second millennium BC).
The relief is thought to belong to the Lullubi culture, which was one of the ancient cultures in the Zagros Mountains region.
The relief shows a scene of several defeated rulers falling at the feet of the Anubis, accompanied by the Mesopotamian goddess Ishtar.
Anubanini and the defeated ruler. He is equipped with an axe, a bow and an arrow. He is bare-chested, wears a short skirt, a roll-brimmed hat and sandals.
Mesopotamian goddess Ishtar. She wears a long, flounced dress, a hat decorated with horns and a headed collar. She is extending a ring in her right hand and has club-like weapons in her back.
Prisoners and their king (detail).
There's also an inscription in the Akkadian language and Akkadian script. In the inscription, he declares himself as the mighty king of Lullubium, who had set up his image as well as that of Ishtar on mount Batir, and calls on various deities to preserve his monument.
Anubanini, the mighty king, king of Lullubum, erected a image of himself and an image of Goddess Ninni on the mount of Batir... (follows a lengthy curse formula invoking deities Anu, Antum, Enlil, Ninlil, Adad, Ishtar, Sin and Shamash towards anyone who would damage the monument).
Behistun reliefs
This rock relief is very similar to the much later Achaemenid Behistun reliefs (fifth century BC), not located very far, to such an extent that it was said that the Behistun Inscription was influenced by it. The attitude of the ruler, the trampling of an enemy, the presence of a divinity, the lines of prisoners are all very similar.
The Shah Mosque, also known as the Imam Mosque, is a stunning example of Persian architecture located in Isfahan, Iran. Completed in the early 17th century as part of the architectural ensemble of Naqsh-e Jahan Square, the mosque is famous not just for its intricate tile work and grand structure but also for its acoustics.
One of the remarkable features of the Shah Mosque is its echo. The mosque's design incorporates a vaulted ceiling and archways that create a reflective space for sound. Visitors often experience clear echoes when they speak or clap in certain areas of the mosque. This acoustical phenomenon is due to the careful architectural planning that takes into account the shape and materials used in construction.
The echoes in the Shah Mosque are not only a fascinating auditory experience but also enhance the spiritual ambiance of the space, allowing for a profound connection during prayer and contemplation. Overall, the mosque stands as a testament to the sophistication of Safavid architecture and engineering, blending artistry and functionality in a harmonious way.
The picture above is written in the Sassanid Pahlavi script known as Ham Debira, which was one of the seven Iranian scripts during the Sassanid period.
Dōšāram is a Middle Persian word that means friendship, affection, love.
This is a sentence in Middle Persian from the book "ayādgār ī wuzurg-mihr" (The Legacy of Bozorgmehr).
dōšāram abāg dānāg ud wehān.
Friendship with the wise and benevolence.
or
Friendship with the knowledgeable and goodness.
The Legacy of Bozorgmehr is one of the most valuable advisory texts in the Sassanid Pahlavi language, attributed to Bozorgmehr, the wise vizier of Anushiravan. This book is a collection of moral and religious advice and teachings, expressed in a simple and lucid manner.
Today, Iranians use the word išq or ešq for the word Love.
The Discovery of an Achaemenid Architectural Masterpiece
In recent years, archaeologists have made a remarkable discovery near Persepolis: a magnificent gate attributed to Cyrus the Great. This discovery has revolutionized our understanding of Achaemenid architecture and civilization, providing us with valuable insights into this historical period.
Archaeological excavations at this site have been conducted for ten years by a joint Iranian-Italian team. Using various methods such as carbon-14 dating and the study of inscriptions, archaeologists have reached significant conclusions about the history and function of this gate.
Location of the Gate
The discovered gate is situated in the Tel Ajri site, approximately three kilometers northwest of the Persepolis citadel. This gate was a structure measuring approximately 30 by 40 meters with a height of about 12 meters.
The structure featured a central corridor that formed a rectangular room measuring 8 by 12 meters. Inside this central chamber, there were four seats. The central corridor opened up to the Achaemenid palace complex on both sides.
Structure
A recently discovered gate near Persepolis has provided new insights into Achaemenid architecture and history.Constructed from mud and fired bricks, the gate is adorned with intricate decorations, including lotus flowers, mythological creatures, and religious symbols. Its walls are embellished with colorful panels that reflect the diverse cultural influences of ancient Iran, the Achaemenids, Elamites, and Mesopotamians. Further evidence of the gate’s significance lies in the Babylonian and Elamite inscriptions found within its central chamber
Archaeological investigations led by Alireza Askari Chavardi suggest that the gate was erected after 539 BC, following Cyrus the Great’s conquest of Babylon. The gate's grandeur and symbolic elements point to its ceremonial purpose. While Cyrus was the primary architect of this impressive structure, his son also played a pivotal role, ruling Babylon for eight years before ascending to the Iranian throne in 529 BC.
The Echoes of Ishtar in the Gate of Cyrus
The Gate of Cyrus exhibit striking similarities to the iconic Gates of Ishtar, both featuring intricate brickwork, vibrant colors, and mythological imagery. These shared characteristics suggest a profound influence of Babylonian art and architecture on Achaemenid design.
The discovery of glazed bricks adorned with mushkhushshu (Akk: Mušḫuššu - Cunieform: 𒈲𒍽 MUŠ.ḪUŠ, 'reddish snake') and bull motifs is among the most significant archaeological findings. mushkhushshu, a mythical creature combining the characteristics of a serpent and a dragon, is primarily recognized as a symbol of the god Marduk, the chief deity of the Babylonians.
Discovered fragments of the legendary creature Moshokhoso, matching the original depiction.
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