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the (272), and (125), #sasanian (50), with (46), are (46), art (37), from (37), reliefs (35), was (26), were (22), edit (20), persian (16), have (16), sassanid (15), rock (15), for (15), there (15), which (15), this (14), roman (13), iran (13), other (13), that (13), large (13), shapur (12), relief (12), these (12), architecture (11), also (11), king (11), under (10), century (10), many (10), figures (10), silver (10), paintings (10), achaemenid (10), view (9), empire (9), style (9), palace (9), such (9), been (9), mostly (9), probably (9), often (9), important (9), stucco (9), wars (8), parthian (8), textiles (8), some (8), but (8), usually (8), they (8), wikipedia (7), about (7), harper (7), canepa (7), bishapur (7), period (7), his (7), one (7), glass (7), high (7), three (7), scenes (7), ardashir (7), planning (7), main (7), page (6), royal (6), colossal (6), wall (6), motifs (6), although (6), islamic (6), sasanians (6), decoration (6), decorated (6), date (6), survived (6), later 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rticular suggest that they draw on a now lost tradition of similar reliefs in palaces in stucco the rock reliefs were probably coated in plaster and painted 6 the standard catalogue of pre islamic persian reliefs lists the known examples as at 1984 as follows lullubi 1 4 elam 5 19 assyrian 20 21 achaemenid 22 30 late post achaemenid and seleucid 31 35 parthian 36 49 sasanian 50 84 others 85 88 12 panorama of naqsh e rostam achaemenid tombs above sassanian reliefs below the tombs from left to right probably belong to darius ii artaxerxes i darius i xerxes i many symbolic badges are found in the forms of various plant and animal figures in the reliefs and stuccos they represent zoroastrian deities 13 figure image symbol of lotus farr anahid 14 tree of life abundance immortality 14 grape blessing and fertility 14 date palm blessing and fertility 14 pomegranate blessing anahid 14 reliefs edit rock relief of khosrow ii mounted on his horse shabdiz fully armed for battle boar hunt in taq e bostan some of the greatest achievements are mainly a series of more than thirty rock relief monuments they are mostly found in fars province which was the original province of the ruling sassanid house the reliefs mostly date back to between the 3rd and beginning of the 4th centuries the reliefs depict some significant event and are usually attributed to specific rulers a relief at naqsh e rostam is mounted below the achaemenid royal tombs and is therefore probably in reference to this as a way for a monarch to likein and connect himself to the old dynasty and pay homage ardashir i is depicted with the god ahura mazda each in strict profile and of the same size this depicts an equality of the monarch and the god indicating a greatness about him the relief is modeled very strong but is rather cautious in the presentation of details there is evidence of hellenistic influences in the relief other reliefs such as at taq e bostan are mounted in a rock hewn arch on the back wall of this there are almost fully sculpted figures khosrow ii is illustrated on a horse in a heavy suit of armor the scenes on the sides of this show a royal hunt the figure of the ruler is shown in front view his face contrast in three quarter view his figure is tall and dominates the whole scene other figures however are shown comparatively small the composition gives the representation of landscape and many details such as the court of the king a rather picturesque impression and was certainly once painted stucco edit in addition to the rock reliefs stucco reliefs played a major role in art under the sasanians since stone brick buildings were conceived as ugly they were covered in stucco within these stucco walls reliefs were often carved of mainly floral patterns but also figurative representations and especially animals often important state buildings such as palaces and administrative headquearers would have been decorated as such often colored white paintings edit main article sasanian wall painting paintings played a substantial role in sassanid art although it is currently poorly documented mani was known to have been a painter of some fame apparently for panel paintings or miniatures in books nothing of this sort remains from the period although the tradition of the persian miniature from some centuries later was apparently the earliest in the islamic world one of the few sites where wall paintings survived in quantity is panjakent in modern tajikistan and ancient sogdia which was barely if at all under the control of the central sasanian power the old city was abandoned in the decades after the muslims eventually took the city in 722 and has been extensively excavated in modern times large areas of wall paintings survived from the palace and private houses which are mostly now in the hermitage museum or tashkent they covered whole rooms and were accompanied by large quantities of reliefs in wood the subjects are similar to other sasanian art with enthroned kings feasts battles and beautiful women and there are illustrations of both persian and indian epics as well as a complex mixture of deities they mostly date from the 7th and 8th centuries 15 in hajjiabad iran a mansion was excavated that still contained well preserved paintings the walls were decorated with frontal view busts 16 the frescos at dura europos on the frontier of the roman empire and sasanian persia are also relevant with many figures in persian dress the most famous come from the dura europos synagogue and date from around 244 256 those in the dura europos church may be a few years older at bishapur floor mosaics in a broadly greco roman style have survived and these were probably widespread in other elite settings perhaps made by craftsmen from the greek world 17 sections of wall paintings from panjakent c 740 stucco relief with confronted ibexes 5th or 6th century once with polychrome painting the so called coupe de chosroès metal and carved semi precious stone mosaic at bishapur of a musician playing an angular harp architecture edit main article sasanian architecture taq kasra at ctesiphon the arch of the palace at firuzabad the grandest buildings of sasanian architecture were very large palaces in brick with high vaulted halls that were important in the development of the iwan in islamic architecture the sasanians further developed the vaults and arches used by the parthians usually with a large opening to one side of the hall in iwan style taq kasra the palace at ctesiphon is dominated by an arched hall with much of the enormous vault still standing the facade is elaborately articulated with columns and niches which once bore paintings and reliefs the palace of firuzabad iran was built by ardashir i it is located on a small lake which opens to the main arch of the structure from that opening on both sides slightly smaller halls present are also curved behind the main arch is also a hall with a dome 22 meters high with two domed rooms on either side behind these rooms there is a surrounding courtyard which connects all around the walls of the rooms are divided by niches and once had rich stucco decorations the area around the palace was once a garden the garden palace and lake were all built together and were at a time connected 18 urban planning edit the sasanians built numerous new cities with elaborate planning many of them are circular mainly as a defensive tactical advantage it had during sieges the walls of a round city could enclose with the same length of a larger area but there were also rectangular scale urban systems these are usually associated with roman architects who were abducted by the sasanians although this was probably needed for the planning of these cities in the sasanian style rectangular city facilities are therefore considered as an alternative sasanian urban planning system firuzabad is a settlement built under ardashir i and a well documented example of sasanian urban planning the city had a diameter of 2 km and was circular two roads divided them into four districts which in turn were divided into 5 smaller sectors and thus ordered the entire city in 20 sectors the detailed planning seems to have continued in the surrounding landscape bishapur and gundeshapur however are conversely perpendicular cities bishapur seems to have been developed by roman craftsmen since the local palace is decorated with mosaics in the hellenistic style coinage edit coin with image of ardashir i with eternal fire on lapel to the right coin of hormizd ii note that the sassanid crown changes from ruler to ruler sasanian coins are a particularly important source for a major reason they are easily datable from all periods of sasanian history using the name of the ruler s image on the coin in pahlavi and it can be used to date other works of art the front usually shows the image of the ruler sometimes together with a son or wife rarely with both on the back there are several scenes including an investiture or an altar on which the eternal fire is burning the tradition of these designs begins with the rather stiff image of ardashir i 224 242 and under shapur i 240 270 under shapur ii 309 379 it is again made of the same material while the detail modeling is slightly decreased this is however important again later in the following period the designs are often highly stylized and have been partially recorded arts and crafts edit sasanian decoration on the underside of a silver vessel 7th century metalwork edit a number of sasanid silver vessels have survived especially rather large plates or bowls used to serve food these have high quality engraved or embossed decoration from a courtly repertoire of mounted kings or heroes and scenes of hunting combat and feasting often partially gilded ewers presumably for wine may feature dancing girls in relief these were exported to china and also westwards 19 a special feature of sasanian art is represented by shells of silver and gold on the inner surface of which a scene is etched into a relief about a hundred specimens are known of which demonstrate the literary splendor of the court many come from excavations but they are mostly chance finds many were found near the ural mountains in russia and were likely traded in this area the original purpose function and authority of these shells therefore remains in the dark often a ruler is shown at the hunt he usually sits on a horse that moves in a flying gallop he stands with his sword pointed at a dangerous animal such as a boar or lion or shooting a bow and arrow the face often appears in three quarter view 20 there are also some peaceful representations that occur such as depictions of animals and legendary creatures earlier versions of the silver shell bowls usually depict a monarch in full relief dominating the entire shell later however in the 4th and 5th centuries the focal character of the shell shares space with a smaller secondary character or element another group of metal goods are present richly decorated vessels whose shape may have been adopted from the customs of the mediterranean silver gilt head of a king 4th century the anahita vessel c 300 500 gilted silver the female dancers may be zoroastrian religious images or bacchantes followers of the cult of the wine god bacchus 21 rhyton with female head and water buffalo c 600 700 silver silver partly gilded dish with the favourite subject of the king hunting 7th century textiles edit a textile from islamic spain with sasanian elements elephants simurgh and winged horses within pearl roundels carpets evidently could reach a high level of sophistication as the praise lavished on the lost royal baharestan carpet by the muslim conquerors shows but the only surviving fragments that might originate from sasanid persia are humbler productions probably made by nomad tribes sasanid textiles were famous and fragments have survived mostly with designs based on animals in compartments in a long lasting style 2 there are indications that especially colorful decorated fabrics had a special importance under the sassanids however the assessment of this art form presents many difficulties for the research as there are few textiles that date back to the sassanid empire itself and the findings outside the empire e g in egypt are not always of clear origin if it was imported from the sassanids or their own imitations or creations especially when the textiles are decorated with heraldic animal patterns a sassanid origin is usually assumed typical are peacocks rams and other animals that are arranged singly or in pairs within a rosette the ram was the god of war in connection to verethragna and therefore held a particular popularity in the sasanian arts as a motif for textiles glass edit sassanid glass bowls sasanian glass continued and developed roman glass technology in simpler forms it seems to have been available to a wide range of the population and was a popular luxury export to byzantium and china even appearing in elite burials from the period in japan technically it is a silica soda lime glass production characterized by thick glass blown vessels relatively sober in decoration avoiding plain colours in favour of transparency and with vessels worked in one piece without over elaborate amendments thus the decoration usually consists of solid and visual motifs from the mould reliefs with ribbed and deeply cut facets although other techniques like trailing and applied motifs were practised 2 sasanian pottery does not seem to have been used by the elites and is mostly utilitarian influence edit sasanian art had a strong influence on the islamic art of persia and the wider islamic world arches are one of the most characteristic elements of persian architecture especially in central asia such as sogdiana the methods and customs of art are directly attributable to the sasanians 22 sasanian influences are found in medieval byzantine textiles jewelry and architectural sculpture a notable example of sasanian influenced decorative motifs can be found in the fifth and sixth century floor mosaics of antioch sasanian motifs did not appear before the fifth century in roman byzantine art but the impact was long lived 23 it was mainly through textiles that heraldric motifs spread although some mosaics as early as the 6th century from antioch depicted the same motifs 24 see also edit byzantine art parthian art sasanian architecture roman art references edit harper cotterell 177 178 1 2 3 4 5 harper keall canepa 53 and throughout canepa 63 64 76 78 on siting luschey canepa 55 57 1 2 3 herrmann and curtis cotterell 162 canepa 57 59 65 68 herrmann and curtis canepa 62 65 68 vanden berghe 27 29 archived from the original on 2016 03 03 retrieved 2020 03 26 herrmann and curtis canepa 74 76 herrmann and curtis keall for the six at bishapur vanden berghe louis reliefs rupestres de l iran ancien 1983 brussels per online summary of his list here archived 2016 03 03 at the wayback machine rostami houshang aryamanesh shahin 2020 investigation on symbolic badges in sasanian rock reliefs and stuccoes archaeology of iran in the historical period university of tehran science and humanities series springer international publishing pp 319 328 doi 10 1007 978 3 030 41776 5_25 isbn 978 3 030 41775 8 s2cid 219510557 1 2 3 4 5 mousavi rasool mehrafarin reza research on the most prominent symbolic plant figures in sassanid stuccos in persian cite journal cite journal requires journal help marshak boris i panjicant 2002 encyclopaedia iranica canby 1993 9 harper many photos at warfare ml archived 2018 03 11 at the wayback machine massoud azarnoush the sasanian manor house at hājīābād iran firenze 1994 keall for bishapur see harper for other sites firuzâbâd a sassanian palace or fire temple vohuman org harper cotterell 189 190 shapur ii the state hermitage archived from the original on 2013 08 23 anahita vessel 31 october 2018 soldier on wall painting from pendischkent in a heavily influenced ...