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CAIS
ARCHAEOLOGICAL
& CULTURAL NEWS©
15
September 2005
Soudabeh
Sadigh & Farzandeh Ibrahim Zadeh - Achaemenid
era is one of the most honorable in Iranian history, which has left of itself unique legacy in
Persian art.
Achaemenid era had a great effect on the
historical art and architecture of Iran. During
the period, Iranian art went beyond the boundaries
of the country, influencing and bringing changes
to other countries as well. CHN talked to Mohammad
Bagher Vossooghi, a PhD professor of history in
University of Tehran, about the Achaemenid art and
the secret of its longevity.
“The most important characteristic of the
Achaemenid era compared to other periods is its
uniqueness. Many governments tried to repeat that
era, but did not succeed to bring the same spirit
into their works of art,” says Vosooghi,
He explains, “When we are talking about a
historical period, we are not supporting a special
belief or a personal policy. Cyrus the Great,
Darius the Great, and Xerxes, are not being
considered as individuals but as a part of a
movement and a historical period. From this point
of view, civilization, civil life, art, and
philosophy will be considered all together. A
civilization which had been built upon sword, art,
and a specified mentality, had an effect far
beyond its borders. When we compare the art from
one historical period with others close to it with
regard to time and place, then we understand its
dignity or failure.”
According to Vosooghi, Persepolis as a symbol of
the Achaemenid art and architecture is unique and
is unrepeatable. It is a monument that has still
kept its past glory. All of these indicate that
Achaemenid art was something beyond Iran’s
borders, having planned and thought about its
stability and strength”.
Persepolis is a combination of Iranian
architecture and Mesopotamian art. Even some
trends of Greek civilization can be found there;
even in their heyday, the Achaemenids did not
resist using art features of their neighbors,
however, they did not just copy them, but were
influenced and then added their own features to
them.
The secret of the survival of Achaemenid art is
that it was not limited just to a special region
or ethnic group, but rather a multinational work.
In this regard, Vossoghi says that economical,
cultural, and political attitudes of Achaemenids
were a combination of several nations, which
influenced their arts as well.
Vosooghi believes Achaemenids to have been
pioneers of their time in political and economical
fields. “Before and contemporary to them, there
were some powerful civilizations in Mesopotamia
such as the Assyrians, but no valuable art work
remains of them, because their art and
civilization was based on their military ideas.
What is interesting in this respect is that
Achaemenids were inspired by Assyrian architecture
style, but their architecture was one step beyond
that of the Assyrians,” he adds.
Based on historical books and ancient
inscriptions, Assyrians could not tolerate other
nations’ opinions and ideas. While depredation,
killing, and setting fire to other lands were an
honor for Assyrians, 50 years after the collapse
of Assyria, Cyrus the Great, the Achaemenid
Emperor, captured Babylon without any blood
shedding, announcing in his world-famous cylinder
his disgust of slaughtering. The Achaemenid
culture was one of tolerance. Achaemenid culture
was an open one, which looked beyond its
boundaries and did not reject others’ beliefs
and respected them.
Xenophon, Greek soldier and writer and a disciple
of Socrates who he joined Cyrus the Younger in an
attack on Persia, cited from Cyrus, “When we are
not wise enough, we shouldn’t ask anything from
God. When we are not expert enough in shooting, we
shouldn’t look for victory. When we don’t
implant a seed, we should not expect the ground to
give fruit to us.” The words point out to a view
point that is surely that of a responsible and
realistic person.
These characteristics are reflected in Achaemenid
arts as well, which made it well known throughout
the history of the world. This art penetrated the
world and went beyond perimeters of Iran’s
plateau. Darius ordered to inscribe his words in
three languages of Persian, Ilamite, and
Babylonian, which shows his respect for the
languages of other nations under his rule. These
honors are not just confessed to by Iranians, but
even by the enemies. While Alexander the Great,
who defeated the Achaemenid dynasty and conquered
Iran, destroyed everything and set fire to the
artistic monument of Persepolis, did not leave any
traces in Iran, Darius expanded Iran’s art and
development to other regions, for example taking
the Persian irrigation system to Africa.
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