Achaemenid Royal Audience Scene, inside shield of Persian soldier on so-called 'Alexander Sarcophagus'
4th C BCE, from Sidon, @ Istanbul Archaeology Museums, Photos: Fluorescent UV & Reconstruction
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An older drawing without some of the details (1);
There are parallels, precedents to #Achaemenid royal scenes in Assyrian, Elamite, other Near Eastern art. Drawing in photo 2 for example is likely of an older, Elamite seal which continued to be used in Achaemenid court
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We see examples of this royal audience scene @ Persepolis, here reconstructed from the fuller image @ Apadana, and another modern recreation @ Zinat al-Molk House
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A more condensed version is also @ door jambs of the 100 Column Hall, Persepolis
Also see: Le roi imaginaire; An Audience with the Achaemenid King (2005), by Dr. Lindsay Allen @vastarchive among other papers on this subject
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The audience scene, in its more formal manner & also more informal, was used on seals & other media across the Achaemenid empire
See these examples, 4 now @ Buffalo
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al Thani Collection unprovenanced object with a similar scene (cropped)
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Seal from Daskyleion, inscribed "Artaxerxes"
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The unprovenanced seal now @ Louvre shares some of the features and is of a royal woman in an "audience scene"
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And the lower part of "funerary stele of Djedherbes from Saggara", now @ Cairo also shares some of the features, albeit in the less formal, banquet context and not the v formal royal audience scene.
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Treatment of dogs was very different in ancient Iran. They were considered beneficial, helpful animals and were to be treated well.
Photo: Persian hound or Saluki, 16th C CE
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I started this research to show Simurgh should not be called the "dog-bird". Along the way, I found ancient & modern breeds across the Near East and Central Asia regions, with a lot of continuity
For example see these Assyrian (1-3) & old Babylonian examples (@britishmuseum)
likely hounds and the last one in the last tweet being an older type of mastiff
Some references from Parthian era: we can certainly assume the colours did not change in Sasanian era, and like many other ways, the same colours were used later on as well
Ref 1: Parthian era textile with colours like purple
چنان بد که یک روز بی انجمن
به نخجیر گه رفت با چنگزن
کجا نام آن رومی آزاده بود
که رنگ رخانش به می داده بود
به پشت هیونی چمان بر نشست
ابا سرو آزاده، چنگی به دست...
به پیش اندر آمدش آهو دو جفت
جوانمرد خندان به آزاده گفت...
کدام آهو افکنده خواهی به تیر
که ماده جوان است و همتاش پیر
بدو گفت آزاده کی شیرمرد
به آهو نجویند مردان نبرد...
Photos: Story of Bahram Gur & Azadeh, 1: also from Chal Tarkhan, slightly post-Sasanian. 2: @ Hermitage, Sasanian era
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...کمان را به زه کرد بهرام گور
برانگیخت از دشت آرام، شور
دو پیکان، به ترکش یکی تیر داشت
به دشت اندر از بهر نخچیر داشت...
Photos: 1: Hermitage; 2: Private UK Collection; 3: @metmuseum , Sasanian era
In recent years, at least 4 sites (Bandian, Mele Hairam now outside Iran's borders, Bazeh Hur, Shilgan) have been excavated which give us a much better idea of this art form in eastern Iran, including Khorasan
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1) Mele Hairam: a number of important late Parthian-Sasanian finds. Likely a fire temple