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ed by artaxerxes ii it was meant to reflect the same opulence and prestige as persepolis this was darius the great s attempt to decorate his summer capital of susa and to show case its glory for its construction darius brought egyptian architects and workers 34 in darius palace egyptianizing cavetto cornices were introduced as a decoration over the lintels of niches windows and doorways 35 subsequently all buildings at persepolis were to have such cornices 35 french archaeologist marcel auguste dieulafoy discovered the remnants of the palace of darius among the ruins of susa producing the artifacts of this once magnificent structure now at display in the louvre museum france he also wrote a series of architectural observations known as l art antique de la perse which made a significant impression on the art community as to the intricacy of the achaemenid architecture 32 although dieulafoy and his wife jane made significant contributions in way of excavation susa remains were noted by many observers years before and were in fact officially noted by william k loftus in 1852 33 susa was a wealthy city by the time alexander the great invaded it and it is said that he required 10 000 camels and 20 000 donkeys to carry away the treasures 18 for the most part the architectural wealth of susa lies in its palaces and ceremonial structures most of which have been eroded away by time or wear and tear today the most important remnants of the achaemenid contribution to the architecture of ancient susa are found in remnants of the palace of darius the great in the original excavation site or hosted in foreign nations museums as persian artifacts today the archaeological remains of the structure remain exposed to the elements wear and tear and human activity and it seems that remains of susa would be forever lost except perhaps for few selected pieces on display at the louvre or foreign nations museums below are a few selected photos from the palace of darius the photo on the far left depicts the famous archers relief from the palace of darius from susa the second picture from the right is a two dimensional lamassu a mythical creature with wings of an eagle head of a man and body of a lion the picture in the middle is of the base of a column from the palace of darius in susa inscribing in its rim in three languages babylonian elamite and old persian that darius is the great king of kings terra cotta frieze of the apadana of susa depicting an achaemenid soldier note the intricate clothing details and lively coloration of the piece bell shaped base of a column from the palace of darius in susa bearing a trilingual inscription i darius the great king of the kings a creature with a head of a man body of a lion and wings of an eagle resembling a lamassu from the palace of darius susa shush remnant of the apadana at susa built by darius i only the foundations remain but there was once a large hall of columns located on this structure naqsh e rostam edit a panorama of the naqsh e rostam mountain complex naqsh e rostam is an archaeological site located about 6 kilometers northwest of persepolis in the marvdasht region of fars province iran 36 nash e rostam acts as a necropolis for the achaemenid kings but is a significant historical entity in that it also housed ancient elamite relief as well as later relief by the sasanian kings naqsh e rostam is not the actual name of this massive structure but is the new persian compound word composed of naqsh meaning face or facade and rostam referring to the hero of the persian epic shahnameh the elamites achaemenids and sasanians lived centuries before the drafting of the shahnameh by the persian poet ferdowsi and therefore the name is a misnomer the result of the great amnesia of persians about their ancient past that settled over them after being conquered by the arabs 37 an aerial view of the site k denotes the cube of zoroaster letters a b c d denote tombs of darius ii artaxerxes i darius the great and xerxes i respectively numbers are sasanian reliefs the name therefore is a retrospective creation due to lack of historical documents and lack of any inclusive knowledge of its origin in ancient persia this structure would overlook the now long gone city of istakhr easily accessible from persepolis istakhr had a religious role as it was the place where achaemenids held their reverence of the water goddess anahita the structure is carved into a native limestone rock mountain and houses the burial chambers of darius the great xerxes i artaxerxes i and darius ii all achaemenid monarchs of persia there is also an incomplete tomb as only its lower cruciform arm is carved out of the rock while the rest is unfinished it is speculated to belong to king darius iii 36 37 the kings were interred behind a facade and rock relief that would resemble an accurate depiction of the king s own palace and its structural details the accuracy of the facade and its association with the actual structure of the kings palaces is so close that they almost produce a view of how the structures would have looked before time reduced them to remains tomb of darius the great for instance mirrors his palace in persepolis the tachar even in scale and dimensions 37 the tombs are carved into the mountain s side in form of a cross old persian chalipa depressed into the mountain s limestone background and elevated from the ground the relief which is found in the depressed cruciform is that which depicts the respective king s palace and also depicts on its roof the relief figure of the king praying to ahura mazda or what most believe is a reference to the zoroastrian icon faravahar 37 one of the enigmatic features of the complex is a cubical stone structure standing 12 5 meters tall and around 7 meters wide called the ka ba ye zartosht translating to the cube of zoroaster believed to have been constructed during the achaemenid era and modified and changed during the sassanid era the structure is cubical in base with blind impressions on the side resembling windows and a ruined staircase leading to a small door in the front leading to a completely empty interior 36 37 there are varied speculations as to its function discussed below the structure also once housed an ancient elamite relief which has been almost entirely replaced by the sasanian reliefs today only a figure of a man remains of the elamite contribution to this mountain the later sasanians also created their own historical signature on the structure called the naqsh e rajab though numerous and very detailed the study of the sasanian architecture achievements sheds light on some of the architectural achievements during the second persian empire achaemenid archer king fire and faravahar top of the achaemenid tombs closeup of top of the achaemenid tombs zoom view modeling of achaemenid tombs on tomb of ferdowsi closeup of the roof of the achaemenid tombs burial tomb of darius the great note the relief of bahram ii of the sasanians at the base burial tomb of artaxerxes i note the relief of hormizd ii of the sasanians at the base closeup of top of the achaemenid tombs ka ba ye zartosht edit a close up view of the ka ba ye zartosht cube of zoroaster showing the stairs the narrow opening and the blind windows note its placement in a depression as well as the unique rectangular markings on the façade this enigmatic structure stands erect around 12 5 meters tall 35 feet with a linear cubical shape and a square base 22 feet in sides 16 constructed in what is essentially a dug out rectangular depression having on all but one of its sides four rectangular depressions resembling blind windows and multiple minute rectangular depressions in the façade interdispersed among the blind windows as well as the side housing the staircase the staircase leads to a small door 5 feet by 6 feet in dimensions opening to an interior apartment of about 12 feet square 16 the structure s roof houses a minimal entablature of a repeating square pattern 16 the entire structure is posited on a raised stone platform that is composed of a few stone slabs in a sequentially smaller yet in a concentric pyramidally shaped succession this structure is enigmatic both in its aesthetic choice seen in its rather odd design and façade as well as its location and supposed function zendan e soleyman or prison of solomon in pasargadae note the incredible resemblance between this structure and the cube of zoroaster shown left down to the details of the façade from one perspective its proximity to the kings tombs and its simple design is by some scholars thought to indicate that the cube was a zoroastrian temple and the naqsh e rostam was more than a mere place for grieving of the deceased kings but a grand festive center where crowds would gather on festive days to observe the king pray to ahura mazda and bask in the structure s magnitude while praying to ahura mazda 37 this would certainly be logical as the city was also adjacent to istakhr a major religious and cultural center the concept of the temple being used as a fire sanctuary is however not likely because there is no general ventilation for smoke and gasses and also that it differs so drastically architecturally and aesthetically from other well known contemporary temple sites in pars 38 curiously the design although unique is not the only one of its kind located not far away from the cube of zoroaster there exists in pasargadae even to date remnants of a structure that is very similar in its square shape and design to the cube of zoroaster called zendan e soleyman 16 the name zendan e soleyman is a compound word composed of the words zendan which is persian for jail and soleyman which is a local persian dialect name of the king solomon translating to prison of solomon structurally both prison of solomon and cube of zoroaster have the same cubic shape and even resemble each other in the most minute of details including facade and dimensions the name prison of solomon is of course a misnomer since solomon never did erect this structure the term must have come as a result of a persian tactic advised by local persians to protect both cyrus the great s tomb and the surrounding structures including this temple from invading arabs destruction by calling the mausoleum the tomb of solomon s mother and the temple in pasargadae the prison of solomon 19 just like the cube of zoroaster the function of the solomon s prison is not well understood there are theories about the structures being used as a depository of objects of dynastic or religious importance as well as theories of it being a temple of fire 16 it should also be noted that the structures as they exist today are not simply the work of the achaemenid architects and have been modified and improved by the sasanians who also used them for their festive and political needs a view of the complex including cube of zoroaster in the northeastern direction note the depth of the cruciforms faintly made out head and crown of an elamite figure s relief in naqsh e rostam the locals must have assumed the elamite figures were those of the persian epic hero rostam faint if not unrecognizable remnants of what seems to be a throne of an elamite king sasanian reliefs eliminated the elamite remnants behistun inscription edit behistun inscription carved high in mount behistun of kermanshah one can find the behistun inscription a text etched into the stone of the mountain describing the manner in which darius became the king of persia after the previous ruler cambyses ii and how he overthrew the magus usurper of the throne 39 in this inscription darius also details his satraps and delineates his position as the king and emperor of the persian empire a schematic representation of the behistun inscription note from left to right two guards serving darius the great the king himself stepping over the alleged usurper gaumata a group of gaumata s magi conspirators in chains before the king architecturally speaking the behistun inscription is a massive project that entailed cutting into the rough edge of the mountain in order to create bas relief figures as seen in the pictures above the behistun mountain rises up to some 1700 feet as part of the zagros mountain chains in iran the mountain s location is ideal being close to both ecbatana and babylonia 40 the bas relief itself is located some 300 feet above the base of the mountain the figures represent two of the king s soldiers the king himself standing over a fallen usurper and captives of several nations possibly dissidents or co conspirators the inscription itself is written in cuneiform character in old persian babylonian and median 40 the inscription is interpreted and deciphered with the help of many intellectuals and scholars but the orientalist sir henry rawlinson is credited as being most critical in the process of deciphering the piece 40 part of why the understanding of the text is so vivid today is owed to darius the great himself for he wrote the message of the inscription in three language and so allowed the modern scholars to decipher one language and follow through the other two since the message was essentially similar in all three forms in this sense the behistun inscription is not only a significant architectural work but also a significant linguistic tool as important to the old world understanding of ancient persia and its languages as rosetta stone is to understanding ancient egypt and its languages 41 a close up photograph of the behistun inscription showing the figure of darius the great note the detail in the arrow and the positioning of the king and his hand posture outline tracing of the figure of darius on the behistun inscription a picture of mount behistun note the size of the climbers compared to the size of the mountain a panorama of the behistun inscription note that the relief inscription is 300 feet off the ground legacy and influences edit elements of the achaemenid style can be seen in contemporary iranian architecture buildings built by the pahlavi dynasty in particular show extensive influence of achaemenid architecture and art khakh e shahrbani currently a building of the iranian ministry of foreign affairs khakh e sahrbani shows combination of elements from achaemenid and persian islamic styles ferdowsi s self narration at the end of his life sanduq e pas andaz e bank melli iran building ferdowsi avenue the yazd atash behram fire temple shah emam reza hospital of mashhad foroohar farvahar symbol on top of the important buildings of pahlavi i era iran carpet co former firm of jamshid bahman jamshidian statue sq of mashhad before the 1979 rev with achaemenid columns courthouse place kakh e dadgostari dariush grand hotel kish island persian gulf pond and fountains of two persian gardens ferdowsi mausoleum and toos razavi hospital tehran university college of social sciences shows obvious traces of architecture from persepolis interior of tomb of ferdowsi ...
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