Achaemenid architecture in the context of "Mausoleums"

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⭐ Core Definition: Achaemenid architecture

Achaemenid architecture includes all architectural achievements of the Achaemenid Persians manifesting in construction of spectacular cities used for governance and inhabitation (Persepolis, Susa, Ecbatana), temples made for worship and social gatherings (such as Zoroastrian temples), and mausoleums erected in honor of fallen kings (such as the burial tomb of Cyrus the Great). Achaemenid architecture was influenced by Mesopotamian, Assyrian, Egyptian, Elamite, Lydian, Greek and Median architecture. The quintessential feature of Persian architecture was its eclectic nature with foreign elements, yet producing a unique Persian identity seen in the finished product. Achaemenid architecture is academically classified under Persian architecture in terms of its style and design.

Achaemenid architectural heritage, beginning with the expansion of the empire around 550 B.C., was a period of artistic growth that left an extraordinary architectural legacy ranging from Cyrus the Great's solemn tomb in Pasargadae to the splendid structures of the opulent city of Persepolis. With the advent of the Second Persian Empire, the Sasanian dynasty (224–624) revived Achaemenid tradition by constructing temples dedicated to fire, and monumental palaces.

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Achaemenid architecture in the context of Persepolis

Persepolis was the ceremonial capital of the Achaemenid Empire (c. 550–330 BC). It is situated in the plains of Marvdasht, encircled by the southern Zagros Mountains, Fars province of Iran. It is one of the key Iranian cultural heritage sites and a UNESCO World Heritage Site.

The earliest remains of Persepolis date back to 515 BC. The city, acting as a major center for the empire, housed a palace complex and citadel designed to serve as the focal point for governance and ceremonial activities. It exemplifies the Achaemenid style of architecture. The complex was taken by the army of Alexander the Great in 330 BC, and soon after, its wooden parts were completely destroyed by fire. According to one theory Alexander deliberately set fire to Persepolis to avenge the destruction of Athens by the Persians, second theory is that it was at the urging of Thaïs, a courtesan, during a feast when Alexander was intoxicated.

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Achaemenid architecture in the context of Faravahar

The Farāvahār (Avestan: 𐬟𐬀𐬭𐬎𐬎𐬀𐬵𐬀𐬭𐬀; Persian: فَرْوَهَر), also called the Foruhār (فروهر) or the Fārre Kiyâni (فرّ کیانی), is one of the most prominent symbols of Zoroastrianism. There is no universal consensus on what it means or stands for, as a variety of interpretations exist. The most common belief is that it depicts the fravaṣ̌i (𐬟𐬭𐬀𐬎𐬎𐬀𐬴𐬌), which is the Zoroastrian concept of one's personal spirit.

Rooted in ancient Near Eastern tradition, the Faravahar was especially prevalent in the Achaemenid Empire, correspondingly appearing in many works of Achaemenid architecture. Although it was originally religious in nature, it has also become a secular and cultural symbol among Iranian peoples (mostly Persians and Kurds, as well as secular and cultural Zoroastrians), having been popularized in this capacity after the Muslim conquest of Persia and the subsequent fall of Sasanian Empire.

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