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2 results

  • 7 - CYRUS THE GREAT (558–529 b.c.)

  • Edited by I. Gershevitch
  • Book:
    The Cambridge History of Iran
    Published online:
    28 March 2008
    Print publication:
    06 June 1985, pp 392-419

  • Summary

    The simple style of Cyrus was a reflection of Elamite royal custom and recalls the curt inscription at Choga Zanbil, which simply names the founder as 'I Untash-Gal'. Two lines of beautifully and simply carved column bases found in the course of excavating a palace of Cyrus the Great. In assessing the accretion of wealth that came to Iran from the time of Cyrus onwards one should not forget the great influx of men and animals as well as timber and other commodities. A consideration of the vast distances that are covered by the armies of Cyrus for the acquisition of the empire must lead us to reflect, on the order and sequence of his campaigns. The situation which confronted Cyrus at the beginning of his reign has been admirably expounded by Sidney Smith. The capture of Babylon, richest of all the Persian satrapies, inevitably brought in its train hegemony over the rich cities of Syria and Palestine.

  • 18 - THE BEHISTUN RELIEF

    • By Ann Farkas, Brooklyn College of the City University of New York
  • Edited by I. Gershevitch
  • Book:
    The Cambridge History of Iran
    Published online:
    28 March 2008
    Print publication:
    06 June 1985, pp 828-831

  • Summary

    The Behistun relief is the earliest known work of art which can be securely dated in the reign of Darius the Great. The relief represents Darius triumphant over his enemies; he holds a bow in his left hand and stands with one foot on the fallen figure of Gaumata, the first rebel, who raises his arms in a pleading gesture toward Darius. The style of the Behistun relief is simpler than the later art of Darius and appears to unite conventions found in Cyrus' sculptures at Pasargadae with traits characteristic of Assyrian art. In the time of Darius, the characteristic Persian robe is shown, in summary fashion, on the Behistun relief, and in a more developed manner in the art of Susa and Persepolis. Professor Porada has already suggested that the royal figures on the Treasury reliefs wore gold crowns, since representations of Darius and subsequent kings were adorned with gold crowns and jewellery.