Achaemenid lion 3D print model

The Achaemenid Persian Lion Rhyton (in Persian: تکوک شیر غران) is an ancient artifact related to Achaemenians.

Persia - Achaemenian Vessels A rhyton is a kind of vessel which normally terminates in the shape of an animal's head or horns. These vessels were common in the Near East and ancient Greece.

Early Iranians used rhyta with an animal head at the end of the vessel; later in the Achaemenid period the animal part of the rhyton was usually located in front of it and at a 90 degree angle to the vessel.

The rhyton was created in circa 500 B.C by some estimates. It is 6.7 in. height (about 17 cm.) and is constructed entirely from gold. The different parts of the artefact are joined together by soldering, done so skilfully as to leave no obvious marks.

This lion head creature was found by Fletcher Fund in 1954 in southwest Persia and is now located in the Metropolitan Museum of Art in New York City, United States. Battle of Shahriar (Achaemenid king) and Lion, Confrontation between Shahriar and Lion or Shah's battle with lion, winged ox, Griffin, and winged lion refers to rock carvings in three palaces of Persepolis, especially the Palace of 100 Columns, which belongs to the transition period of the warrior-ship community in the era of Darius I until the no-war time of Xerxes I were made to represent him as a constructive and disciplinary king.

In the rule of the Achaemenids and from the era of Xerxes, the image of the Shahriar is seen in opposition to supernatural beings and beasts. At the same time, with the reign of his arrival, there were riots in the country, the defeat of Persians from Greece and the insurrections that took place in Babylon and Egypt. Shahriyar made the second half of his rule in the country and played the role of the representative of the goddesses to maintain peace and tranquility in the affairs of the country.

Craving of Battle of Shahriar and Griffin The Achaemenid history shows that it has never been culturally seeking to unify its domains and territories; that is, did not try to unify language, religion, and worship, but it was exercising its power in different ways, one of which is the representation of images as a tool for expressing the will of power and the question of the legitimacy of their use. In fact, cognitive and imaginative analyzes show that inscriptions and representations impose and transmit the image of power. Artists and industrialists who worked in different workshops did not have freedom to create artistic creation; they had to follow the exact guidelines of the great king's advisers.

From the inscriptions from the Xerxes period on the Gate of Nations, the Apadana stairs and the Southern Porch, the Tachara Palace and the Northern Porch, the Hadish palace and the stone tablets of the harem, the legitimacy of Ahura Mazda is seen as a constructive and regulating landowner in the community.

In the inscription of the Divan (Devils), which is one of the most important inscriptions of the period of Xerxes, it is written: Ahuramazda helped me to defeat this land and restore order to him, and among these lands there was a place in which They replaced the past of the worship of the demons, after which I destroyed the divine sanctuary by the power of Ahuramazda ...

In the carvings of this period, there have also been developments that can be seen in the increase of animal and combination designs, the designs of the Gate of Nations, the winged ox with a human head (Lamassu), the repetition of the carvings of the cow hunting by lion and the repetition and emphasis of the Shahriar battle designs with the combined animals and evils have been seen since this period. Some scholars believe that these designs influenced by the Assyrian palaces were inspired by artists who serves in Persian palaces, and the township that had been defeated far beyond its territory compensated for defeat in the internal fence of the realm.