Ancient civilizations-2

Art

Achaemenian art, like Achaemenian religion, was a blend of many elements. In describing, with justifiable pride, the construction of his palace at Susa, Darius says,

Armenian tribute bearer carrying a jar decorated with winged griffins, detail of relief sculpture on the stairway leading to the Apadana of Darius at Persepolis, Iran, Achaemenian period, late 5th century bc.Michael Roaf

The cedar timber—a mountain by name Lebanon—from there it was brought…the yakā-timber was brought from Gandara and from Carmania. The gold was brought from Sardis and from Bactria…the precious stone lapis-lazuli and carnelian…was brought from Sogdiana. The…turquoise from Chorasmia…. The silver and ebony…from Egypt…the ornamentation from Ionia…the ivory…from Ethiopia and from Sind and from Arachosia…. The stone-cutters who wrought the stone, those were Ionians and Sardians. The goldsmiths…were Medes and Egyptians. The men who wrought the wood, those were Sardians and Egyptians. The men who wrought the baked brick, those were Babylonians. The men who adorned the wall, those were Medes and Egyptians.

This was an imperial art on a scale the world had not seen before. Materials and artists were drawn from all the lands ruled by the great king, and thus tastes, styles, and motifs became mixed together in an eclectic art and architecture that in itself mirrored the empire and the Persians’ understanding of how that empire ought to function. Yet the whole was entirely Persian. Just as the Achaemenids were tolerant in matters of local government and custom as long as Persians controlled the general policy and administration of the empire, so also were they tolerant in art so long as the finished and total effect was Persian. At Pasargadae, the capital of Cyrus the Great and Cambyses in the Persian homeland (Fārs), and at Persepolis, the neighbouring city founded by Darius the Great and used by all his successors, one can trace to a foreign origin almost all the details in the construction and embellishment of the architecture and the sculptured reliefs, but the conception, planning, and overall finished product are distinctly Persian and could not have been created by any of the foreign groups who supplied the king of kings with artistic talent. This was true also of the decorative arts, at which the Persians excelled: fine metal tableware, jewelry, seal cutting, weaponry and its decoration, and pottery.

It has been suggested that the Persians called on the subject peoples for artists because they were themselves crude barbarians with little taste and needed quickly to create an imperial art to match their sudden rise to political power. Yet excavations at sites from the protohistoric period show this not to have been the case. Cyrus may have been the leader of Persian tribes not yet as sophisticated nor as civilized as the Babylonians or Egyptians, but, when he chose to build Pasargadae, he had a long artistic tradition behind him that was probably already distinctly Iranian and that was in many ways the equal of any. To show this, two examples suffice: the tradition of the columned hall in architecture and fine gold work. The former can now be seen as belonging to an architectural tradition on the Iranian plateau that extended back through the Median period to at least the beginning of the 1st millennium bc. The rich Achaemenian gold work, which inscriptions suggest may have been a specialty of the Medes, was in the tradition of the delicate metalwork found in Iron Age II times at Hasanlu and still earlier at Marlik. Persepolis, primarily the creation of Darius and Xerxes, is one of the great artistic legacies of the ancient world, with its carefully proportioned and well-organized ground plan, rich architectural ornament, and magnificent decorative reliefs.