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story, warrior, october, stunning, setting, 2500th, anniversary, mays, moradi, jalal, springer, 9789048186327, boys, phiroze, vasunia, 9780199286140, handbook, hellenic, barbara, graziosi, schmitt, 1986, iranica, 398, 9780521200912, 392, periods, cockcroft, chelsea, publishers, 9781555468477, andrew, burke, mark, elliot, lonely, planet, 284, 2007, frances, lincoln, ltd, 9780711228221, 227, archaeologica, aedeen, cremin, edward, 1816, printers, street, london, monthly, review, fergusson, 1851, murray, 214, 216, 209, nineveh, restored, essay, abraham, valentine, williams, jackson, 1906, macmillan, 278, 314, conducted, 1961, 1978, basic, pls, ronald, ferrier, yale, 0300039875, gates, 186, 9780415121828, archaeology, urban, rome, marco, bussagli, tauris, 211, 9781845110895, fallah, kamyab, publications, 2010342544, lccn, 964, 350, 316, فرهنگ, واژه, های, معماری, سنتی, ایران, caffin, 1917, dodd, mead, talebian, andré, salvini, california


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well as the use of wood in construction of the roof this explains why the palace caught fire when alexander the great set it aflame the third picture from the left is a more detailed technical drawing of the talar i takht or the 100 column hall note the layering of the roof the detailing on the edges of the roof the window structures and the technical detailing of the construction poles the last picture on the right is a panoramic view of the outside of the palace of darius the great in persepolis details of the persepolis reliefs are depicted as one can note the symbolic scenes of lions attacking bulls accompanied by two groups of persian soldiers protecting symbolically in this case the infrastructure above hall of 100 columns hall of the throne or talar e takht analysis of the roof and column s capital of the tachar or palace of darius an aerial reconstruction of the structure in talar e takht or 100 columns hall virtual construction of the entrance to palace of darius the great persepolis susa edit main article palace of darius in susa reconstruction drawing of the palace of darius at susa glazed siliceous bricks depicting palms disposed as flowers ca 510 b c from the palace of darius the great susa note the lively coloration preserved thanks to the structure being protected from the elements by being buried item is currently on display in the louvre france another decorative terra cotta frieze from palace of darius the great at susa depicting what seems to be spirals note the blue color and the resemblance to the ocean susa was an ancient city 5500 b c even by the time of the achaemenids susa became a part of the achaemenid empire in 539 b c and was expanded upon by darius the great with construction of palace of darius and later development of palace of artaxerxes ii the palace had a unique apadana resembling the one in persepolis except this hall was much larger than its persepolis counterpart covering some 9 200 square meters 32 cyrus the great chose susa as a site for one of his fortifications creating a wall there that was significantly taller than older walls made by the elamites this choice might have been to facilitate the trade from persian gulf northward 18 what remains in way of structure from this once active capital are five archaeological mounds today located in modern shush in southwestern iran scattered over 250 hectares 33 structural details edit darius s design of his palace in susa would resemble persepolis structurally and aesthetically but would incorporate more of a local flair the structure hosted a large hall of throne or apadana similar to the apadana of the persepolis this susa version of apadana would be composed of three porticoes at right angles to each other one of which was closed in all three sides by the walls and only open in its southward direction the palace was decorated with reliefs in enameled terra cotta of lions walking 32 intricate scenes depicting archers of king darius would decorate the walls as well as motifs of nature such as double bulls unicorns fasciae curling into volutes and palms disposed as a flower or a bell the archers in particular depict a unique symbiosis of persian ionian and greek artistry of the time probably reflecting the origin of the artists who were originally hired by darius the great and their personal reflections on the finished work 32 perhaps the most striking terra cotta relief is that of the griffin depicting a winged creature resembling a lion with wings of an eagle picture not shown here the terra cotta brick reliefs were decorated with lively dye colorations often giving them a lifelike quality history edit architecturally the palace of darius in susa was the epitome of the persian architecture at the height of the empire s growth originally erected by darius and extensively renovated and modified 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 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