Persian art, rich in history and profound in its influence, reflects the spirit of one of the world’s oldest and most enduring civilisations. From the first crude pottery pieces shaped by prehistoric hands to the magnificent architecture of imperial dynasties, Persian art has continuously evolved, absorbing foreign influences while remaining distinctly Persian in character.
In this first of a captivating four-part series, we invite you to explore the rich tapestry of Persian art; a journey that reveals the beauty, ingenuity, and boundless creativity woven into its heritage. From its ancient origins to the magnificent ascent of the Achaemenian Empire, each step illuminates the artistry that has defined Persia across the ages.
Table of Contents
The Origins: From Neolithic Beginnings to the Elamite Masterpieces
The story of Persian art begins in the Neolithic era, where early settlers of the Iranian plateau first expressed their creativity through simple yet striking pottery. These early peoples lived in mountainous regions surrounding a central depression that was once covered with water. As the waters receded, these early communities moved into the fertile valleys, giving rise to the first permanent settlements.
It is from these settlements that we find some of the earliest examples of Neolithic art at Tappeh Sialk, near Kashan, Isfahan Province. The pottery unearthed from these ancient burial mounds dates as far back as the 5th millennium BC. Initially, these vessels were crude, their decoration limited to horizontal and vertical lines mimicking basket work. However, over time, these artisans refined their craft, and by the 4th millennium BC, Persian pottery had evolved into something far more sophisticated.
A prime example of this development is the Painted Beaker from Susa, dating to between 5000 – 4000 BC and now displayed at the Louvre Museum in Paris. This beaker, with its highly stylised depiction of an ibex (wild goat), its body reduced to geometric forms, and racing hounds represented by little more than streaks of motion, reveals a level of abstraction that is remarkably modern. Such works demonstrate the remarkable ingenuity of early Persian artists, who combined functional craftsmanship with symbolic artistry, creating pieces that are as much statements of cultural identity as they are utilitarian objects.
c. 5000 – 4000 BC.
Dates from middle of 3rd millennium BC.
As Persia moved into the Elamite period during the Bronze Age (3300 – 1200 BC), the kingdom of Elam, located in the southwest, became a hub of cultural and artistic innovation. Elamite artists were particularly renowned for their mastery of metalwork and brick glazing, producing artefacts of extraordinary beauty and technical complexity. Among the finest examples of Elamite art is the silver Paleo-Elamite vase from Marv-Dasht, near Persepolis, Fars Province. This vase, adorned with the figure of a woman in a long sheepskin robe, reflects Mesopotamian influences yet maintains a distinct Elamite character, highlighting the region’s artistic independence despite external cultural connections.
These pieces exemplify the flourishing artistic achievements of the Elamites, whose works left a lasting legacy that would resonate throughout Persian history.
The Aryan (Iranian) Arrival and the Rise of Luristan’s Artistry
and found in Tappeh Sialk.
By the second millennium BC, the Indo-European Aryans had arrived on the Iranian plateau, and it is from their influence that the next chapter of Persian art unfolds. These early Iranians, or Aryans, brought with them a new cultural and artistic sensibility, as seen in the vast finds of pottery at Tappeh Sialk. One of the most notable pieces from this period is the long-spouted ceramic jars used in funeral rituals, which were often decorated with animal motifs, such as birds, whose feathers and wings were drawn around the spouts. These pitchers, which remained in use until the Achaemenian period, demonstrate a continuity in Persian art’s deep connection with nature, mythology, and ritual.
Meanwhile, in western Iran, the Luristan region rose to fame between the 12th and 8th centuries BC for its finely crafted bronzes, celebrated for their intricate detail and masterful artistry.
These stunning bronze pieces included horse trappings, weapons, and ceremonial standards, often decorated with elaborate engravings of animals, both real and imagined.
The bronze horse-bit with cheek-pieces shaped like winged human-faced bulls, for example, showcases the extraordinary artistic imagination of Luristan craftsmen.
Another notable example is the bronze axe-head, where the blade emerges from the open jaws of a lion, symbolising strength and power.
Luristan art frequently featured fantastical creatures, embodying a culture that delighted in the mythical and mysterious.
10th – 7th century BC.
10th – 7th century BC.
One of the most iconic motifs in Luristan art is the so-called Master of Animals, a Janus-headed human figure seen grappling with two rampant beasts. These ceremonial objects, believed to have had religious or household significance, are a reflection of the region’s deep spiritual relationship with animals, as well as its artistic flair for creating stylised and imaginative designs.
Bronze standard in the form of a master of animals struggling with two rampant beasts.
10th – 7th century BC.
The Treasures of Marlik: A Glimpse into Persian Pastoral Life
Nestled in the lush lands of north-western Iran, near the Caspian Sea, lies the site of Marlik, home to a thriving pastoral culture between the 12th and 10th centuries BC. Excavations conducted in 1961 revealed a treasure trove of artefacts that provide invaluable insight into the life and artistry of these ancient peoples. Among the discoveries were golden vases, goblets, silver vessels, and a host of bronze artefacts and ceramics. These treasures showcase not only the artistic sophistication of the Marlik people but also their command of advanced technology in metalworking and pottery.
11th century BC.
The vases from Marlik are particularly striking, often adorned with the likenesses of winged bulls, griffins, and rams; creatures that likely held great symbolic significance in the mythology of this pastoral community.
One of the most remarkable finds from Marlik is a beautifully polished ceramic hunch-backed bull, a masterpiece of craftsmanship from the 10th century BC.
Alongside this is the equally impressive bronze hunch-backed bull mounted on four wheels, further evidence of the Marlik people’s ingenuity and their pastoral way of life. These animals, central to the lives of these ancient farmers, were also central to their art, embodying the strength and vitality of their culture.
10th – 11th century BC.
mounted on four wheels.
10th – 11th century BC.
Mannai, Scythians, and the Medes: A Fusion of Cultures
By the 8th century BC, the Mannai civilization, located in the north-western corner of Persia, developed a distinct style that combined local Persian elements with the influences of Assyria and Urartu. The treasures found in Ziwiyeh (Sakkiz), near the border of Azerbaijan and Kurdistan, reveal an extraordinary level of craftsmanship. One notable piece is a golden bracelet adorned with two pairs of lion cubs lying face to face, reflecting the importance of animals in both symbolism and design.
From the treasures of Ziwiyeh;
7th century BC.
The arrival of the Scythians, a nomadic people, further enriched Persian art during this period. Scythian artists, known for their dynamic depictions of stags, felines, and birds, brought a distinctive style that blended seamlessly with Persian traditions. The golden stag from Kostromskaya, dating to the 7th century BC, is a prime example of Scythian influence on Persian art, with its smooth curves and elaborate antlers demonstrating an elegant yet powerful representation of nature.
7th – 6th century BC.
The smoothly curved sections divided by sharp ridges have no counterpart among Luristan bronzes, yet the way the antlers have been elaborated into abstract openwork ornament, betrays a similar feeling for form.
The Medes emerged in recorded history around the 9th century BC, their presence first noted in Assyrian texts. An Indo-European tribe like the Persians, they had settled in western Iran at an earlier, still-uncertain date. Yet, tantalizingly little of their artistry endures; only a handful of rock tombs, funerary reliefs, and pottery fragments bear witness to their once-thriving culture. This scarcity of artefacts from the Medes stands in stark contrast to the abundant artistic legacy left by the Achaemenians who followed.
The Achaemenians: A Golden Age of Persian Art and Architecture
The Achaemenian Empire, founded by Cyrus the Great in 549 BC, marked a golden age of Persian art. Cyrus, who united the Persian people and expanded his empire from Anatolia to the Persian Gulf, also established a monumental style of building.
Cyrus’s palace at Pasargadae stands as a magnificent testament to the artistic and architectural prowess of the Achaemenid Empire, blending influences from Assyria, Urartu, and Babylon while exuding a unique Persian identity. Spanning nearly 1.5 miles, this grand complex encompassed not only the palace itself but also a temple and the tomb of the king of kings. The entrance was once flanked by colossal winged bulls, symbols of power and protection, though these monumental figures have since vanished. Today, a stone relief on one of the door jams remains, showcasing a bas-relief of a four-winged guardian spirit dressed in a long Elamite-style garment, topped with an intricately designed headdress of Egyptian origin.
This rich tapestry of cultural influences and artistic details highlights the palace’s significance as both a royal residence and a symbol of Cyrus’s imperial ambitions.
Under Darius the Great (522 – 486 BC), the Achaemenian Empire reached its artistic zenith. Pasargadae was relegated to a secondary role and the new ruler quickly began to build other palaces, first at Susa and then at Persepolis, (Fars Province).
Susa was the most important administrative centre in Darius’ Empire, its geographical location halfway between Babylon and Pasargadae was very favourable.
The palace at Susa, inspired by Babylonian design principles, featured three grand interior courtyards surrounded by reception halls and living quarters. The courtyard walls came alive with panels of polychrome glazed bricks, displaying intricate scenes—a pair of winged, human-headed lions beneath a winged sun disk, alongside the famed “Immortals”. Skilled artisans from Babylon, steeped in a tradition of architectural decoration, crafted and meticulously arranged these vibrant bricks, bringing a unique fusion of artistry and symbolism to the palace.
Now held at The Louvre Museum, Paris.
Now held at The Louvre Museum, Paris.
This architectural marvel set the stage for what would later be the crowning glory of Persian art: Persepolis.
Persepolis, Darius’s capital, became a symbol of the empire’s grandeur, with its vast reliefs depicting processions of courtiers, guards, and tributary nations, all carved with meticulous precision.
At the top row is the Sogdian delegation with rams, textiles and tanned hides, together with other offerings in bowls, advancing under the guidance of a Persian usher. Below the Cappadocian delegation with a horse, cloaks and trousers, preceded by a Median usher.
These reliefs, executed in a style that is precise and almost restrained, capture a distinctive essence of Achaemenian art. Unlike the dynamic and energetic scenes characteristic of Assyrian and neo-Babylonian art, these Achaemenian works favour a formal elegance, prioritising symbolism and grandeur over sheer artistic expressiveness. Their primary aim was to evoke a sense of majesty, drawing the viewer’s admiration toward the empire’s supreme authority. Central to this decorative scheme is the king, whose commanding presence dominates the stone walls of the Apadana, surrounded by dignitaries and envoys from distant lands such as Babylon and Lydia. Each figure, though meticulously detailed, serves to underscore the king’s majesty, placing artistic aesthetics in a secondary role to the powerful narrative of royal grandeur.
The columns at Persepolis, crowned with stylised animal capitals, such as bulls and griffins, exemplify the artistic refinement of Achaemenian sculpture.
Achaemenian art, though formalized, reveals a remarkable fusion of influences from Assyrian, Greek, Egyptian, Babylonian, and Scythian traditions, a reflection of the diverse artisans involved in creating Persepolis.
The Oxus treasure, a collection of 170 gold and silver items from the 5th to 4th centuries BC, further demonstrates the luxury and craftsmanship of the Achaemenian period.
Among the most famous pieces are gold armlets with griffin-shaped terminals, originally inlaid with glass and coloured stones, which showcase the technical mastery and artistic sophistication of Persian metalwork.
The Foundations of a Cultural Legacy
In this opening blog, we journeyed through the formative stages of Persian art, from the Neolithic pottery of Tappeh Sialk to the majestic splendor of Persepolis. The artistic achievements of the Elamites, the refined Luristan bronzes, the treasures of Marlik, and the monumental architecture of the Achaemenians all reveal a culture rich in creativity and vision, deeply attuned to both the natural and spiritual realms.
As we continue our journey through Persian art at Art Arena, the next blog in this series will explore the fascinating developments of Persian art during the Hellenistic period through to the rise of the Sassanian Empire.
Which early Persian art form or artefact resonates most with you, and why? Share your thoughts on how ancient artistry influences modern perspectives.
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