جستجوی مقالات مرتبط با کلیدواژه « achaemenid » در نشریات گروه « هنر و معماری »

All of the palaces in Takhte Jamshid citadel are decorated with special ornaments which each of them refers to a meaning and among these ornaments the column capitals can be grouped in four types; bull, lion, winged bull-man and bird with a lion's paw. This study with the help of allegorical mythology method of Georg Friedrich Creuzer showed that the meaning behind these forms are influenced by the mythological narratives of the Indo-Iranian peoples on the one hand, and on the other hand by astronomy and myth of the Mesopotamia. Therefore the column capital in the form of the lion in the east is connected with Mitra, and also with the sun that rises from the east, the column capitals in the form of the bull in the main halls are associated with blessing and life, and in the west with the bull in front of the lion as an astronomical phenomenon which indicates the beginning of spring, and, with the killing of the bull by the hands of Mitra, which is an allegory of creation and blessing, and finally, the winged bull-man is both indicative of the Indo-European tripartite actions and also protection of the blessing of life, and it can also be related to Mesopotamian Enki.

One of the most important and magnificent palaces in the Achaemenid citadels of Susa and Persepolis is the palace known as Apadana. Apadana palace in Susa is called by this name because of having an inscription naming this palace Apadana on the remaining pillars, and a palace with a similar physical structure in Takhte Jamshid despite not having an inscription with a name is called by this name because of this similarity. Numerous archaeological, historical, architectural and urban planning researches have been conducted on Achaemenid cities and citadels for a long time, and the function of these palaces, especially the palaces and buildings of Persepolis, has always been a matter of debate for experts. However, previous researches in order to understand the meaning of Apadana and the physical structure of this building and its function have focused less on the historical and racial history of the Persian tribe, which we know is a branch of Indo-Iranian tribes. This research with the help of allegorical mythology method of Georg Friedrich Creuzer which is a method focused on finding the meaning behind the form of an artwork by the help of finding narratives and myths behind it seeks to find an new interpretation for the function behind the form of Apadana palace. Thus, this historical study in the rich ancient Indo-Iranian texts showed that based on Indo-Iranian etymology the word Apadana means a holy and glorious place of gathering and presence, and over the years it has been used in the meaning of palace with columns, public palace and outer palace. Also, the study of the physical form and plan of the building showed that the plan of the building as well as many details used in it was based on the Vastu Purusha Mandala diagram in the Vastu Shastra, which is the knowledge of building the physical environment, the traditional knowledge of architecture and urban planning, in Indo Iranian culture. Based on the mythological narrative of the formation of this mandala, the Purusha, the cosmic man has been fixed on the earth by the gods, and with the presence of these celestial and solar gods, the image of the sky is reflected in this plan, and this is the scene on which the movement of the sun and the moon and their years drawn and calculated, And also on this plan the constant cycle of days and time is measured. So this palace is an image of the sky and the daily and annual movement of the sun and the moon is reflected on it, and in this way it is the best place to celebrate important annual events such as Nowruz, Mehrgan, Tirgan, etc.

Cyrus the Great, the founder of the Achaemenid dynasty, during his thirty-year reign, after the defeat of the Medes, Lydia kingdoms, and the conquest of Asia Minor, extended his rule to Babylon, Greece, and Egypt and was able to bring their tribes under his rule and appoint the leaders who were called satraps. , put it on them. This expansion of the territory caused peoples and nations to become familiar with Iranians, especially artists and artisans, and caused influenced each other’s works. In this article, an attempt is made to discuss the role of the column, its importance in Achaemenian architecture, and how it was influenced by the architecture of other nations (Greece and Egypt). The results of this research show that the art of Achaemenid architecture consists of several arts from other countries, including Greece, Egypt, Asia Minor, and Mesopotamia. The Achaemenians created a new art by combining these arts. It should also be noted that Iranian architecture has also had an impact on these and other nations. The use of the pillared hall in this way, which is attributed to Greece and Asia Minor, is completely Iranian because this construction method existed in Greece in the 5th or 6th centuries BC; In Iran, this type of work belongs to the 9th century BC. These halls have also been seen in the sites of Noushijan, Babajan, and Godin Tepe, which were built before the Achaemenid period. In Asia Minor, the Altin Apadana of the Urartian Hill is an Achaemenid Apadana. And its date is more recent than the history of the whole building, and it shows that this hall was built in the Achaemenid period.

Problem statement: 

The griffin is one of the composite creatures in ancient mythology that appears with the body of a lion, the ear of a horse, the head, and the wings of an eagle. This creature has been present during the historical periods of Iran, which shows its importance among Iranians. However, there are ambiguous points about how the griffin of the pre-Islamic era is related to the griffin of the Islamic era. Therefore, in this research, the griffin has been studied as a popular ornamental motif in two important historical periods of Iran; the Achaemenids in ancient times and Seljuk in the Islamic era.

This article aims to study the manner of impressions, differences, and similarities between the griffin in Achaemenid art and Seljuk art by considering the comparative approach.

For this purpose, using the descriptive-analytical method, twenty-one artworks including the griffin in both historical periods were analyzed and compared in separate tables.

The results of the comparative study reveal that despite the differences, these motifs were often similar in terms of structural characteristics, physical posture, and visual features. Symbolically, they often had common concepts, such as the royal essence, power and wealth, and the guardian of the treasure and the palace. Influenced by religious beliefs, they were a symbol of goodness and blessing, magic invalidation, and protecting the tree of life. However, in some Achaemenid artworks, the griffin has been shown with a demonic aspect, in the conflict between good and evil. In general, the number of similarities and differences indicates that the griffin in the Seljuk period was affected by its similar motif in the Achaemenids, and factors such as political dominance, the authority of the monarchy, religious beliefs, and folk culture played a role in their formation and application.

The study of the gates of the Achaemenid citadels with the new mythological approach and historical analysis method led to the discovery of concepts behind this body which refer to the cultural themes in this period which had been formed based on belief and mental patterns of the people of this period, that is, the myths. The result is that these palace-gates had a different structure from the gates of cities in other cultures and gradually underwent changes from Pasargadae to Susa and Parseh. A comparison of these gates and their developments shows that as the Achaemenid kingdom gained more power, the architecture of these buildings were formed more based on Iranian cultural themes; As in Pasargadae Gate-Palace, the influence of Egyptian and Mesopotamian culture is more evident than other gate-palaces, and in contrast the gate-palace of Parseh Citadel, which was built at the height of Achaemenid domination, without the need to refer to other cultures relies on Iranian themes; In this Gate-Palace, on one hand with its three doorways and ornaments which are a reference to Dumezil's tripartite ideology of Indo-European societies, and on the other hand with its special naming, the gate of all nations, its function is emphasized, a function that in a double-sided way refers to a gate that is open to all nations under the rule of the Achaemenid dynasty, and also It contains a symbolic connotation of the all-encompassing power of the Achaemenid rule, which encompasses all nations of all races under its governance.

Problem Definition:

 By observing the status of fire and fire-place in the reliefs of works left by the kings of the Medes and Achaemenids, it could be understood that fire had a very high and sacred position in Pre-Islamic Iran. In the works left from this era and also in artistic and ceremonial works, the presence and manifestation of fire in catacombs, public ceremonies of kings, and religious and ritual ceremonies can be observed. Therefore, the question raised in this regard is: “What symbolic concepts does the fire motif have in the Median and Achaemenid periods?”

 The aim of this study is to Symbologically investigate and analyze the fire motif in the history of Pre-Islamic Iran (the Median and Achaemenid periods) and the status of this element in the culture and art of this period.

 Considering the historical aspect of the present research, the adopted method is descriptive-analytical. The obtained data were classified and reviewed. The data analysis was carried out using descriptive methods and the presentation of images.

 The results of the research show that in investigating the remaining motifs of the works related to the Median and Achaemenid periods, the symbolic fire always shows the logic of cleansing evil with good. Fire is the manifestation of Asha (piety and truth) on earth, and the fireplace is the place to worship and praise Ahura Mazda. Also, fire is a symbol of purity and peace of being, benefiting from the property of purifying matter and soul essence. In fact, if the fire was devoid of this characteristic, it could never be the connection between the earthly human world and the spiritual realm of Ahura.

Metalworking artist Mahmoud Dehnavi is one of the famous metalworking artist in the field of contemporary Iranian engraving, whose works are kept in museums and private collections. Rhytons are one of the most important works of this artist, which have been designed and made inspired by the art of the Achaemenid period. Metal Rhytons with animal heads are important Applied and ritual works of the Achaemenid period and they have a lot of religious, ritual and artistic importance. Therefore, the importance of Rhytons and the source of inspiration for these works by Mahmoud Dehnavi, necessitates the present research and in this research, have been identified the properties of Achaemenid Rhytons and engraved Rhytons of Mahmoud Dehnavi and the similarities and differences of these works. Also, the questions raised in the present study include two cases: 1- What are the properties of Achaemenid Rhytons and engraving Rhytons of Metalworking artist Mahmoud Dehnavi? 2- What are the similarities and differences between the Achaemenid Rhytons and engraving Rhytons of Metalworking artist Mahmoud Dehnavi? In the present study, documentary information have been studied by descriptive-analytical method and comparative approach and case studies include 5 works of engraved Rhytons by Mahmoud Dehnavi, which includes a Rhyton with a horse's head and 4 Rhytons with a goat's head and these examples have been compared with two examples of Rhyton works with horses and goats head of Achaemenid period that are most similar to each other. The research findings also show that among the 4 engraved Rhytons of Master Dehnavi with a goat's head, 2 samples are most similar to the Achaemenid Rhyton and these are designed and made in a conical and elongated shape and the other two examples of Dehnavi's Rhytons are designed to be slightly rounder and more cylindrical. In the case of horse-shaped Rhytons, the Achaemenid sample is made with more elegance and more natural than the work of Master Dehnavi.

Parsa, which we call Takht-e-Jamshid and westerns call it Persepolis, is the most important heritage of the Achaemenids. The complex is a series of buildings and palaces dating from 510 to 330 BC. It has emerged as an administrative, governmental and ceremonial complex on a huge man-made rocky platform. One of the basic measures taken to protect buildings on the platform of the Persepolis from the mountain floods and provide drainage for the buildings is the construction of about two kilometers of water canals under the platform. The canals are partly dug into the rock or built over the bed of the platform and run from north to south and west to east to gather the water of 125,000 square meters of palaces and administrative or service buildings. Sometimes these canals are up to 6 meters deep and are generally not less than one meter wide and covered with thick stone slabs. Various archaeologists, such as Schmidt (1939), Tajvidi (1355 solar), Askari (1383-85, solar) Asadi (1395 solar), and scholars such as Hakim, Reza, and Zare have studied the water canals of Persepolis. However, a study of architecture, construction and spatial features of canals is still necessary. This study, has monograph research method which starts from review of first-hand library resources specifically archeological reports and continues with field surveys. It first attempts to integrate the complex network architecture of the canals in interaction with terrain topography, heights of platforms, and 12 monuments over the ground. It Identifies the function of each canal in relation to roof surfaces, walls and open courtyards. The research has classified the canals based on their different characteristics. Functional canals were first divided into four categories: 1. vertical drainage transfer 2. Over ground water transfer 3. Secondary and short waterways 4. Main waterways. They were then divided into three categories based on their form: 1. Open canals that starts through the Gate of Nation 2. Covered canals with or without ventilating holes. The final categorization was carried out according to the method of stonework of the canals, which is the unified stone with smooth carving or coarse carving. It seems that the smooth carvings belong to the first period of construction in Persepolis in the time of Darius, 515 to 490 BC under Apanada Palace. Some of the canals were created not by digging directly the rocky mountain but by arranging rocks on top of each other. Morphological study of the canals shows that there are two important east-west canals which pass through Apadana palace and residential palaces, reaching to a north-south canal adjacent to the mountain at the east of Persepolis platform. The height difference of the longest canal is -7 meters. The average slope is 2% but some have more than 30 %slope to be able to provide the desired depth and homogeneous system of water flow. As a conclusion, after examining the gradual process of formation of Persepolis, archaeological hypotheses suggested by Hertzfeld and Schmidt on the impact of canals on unified planning of Persepolis from the beginning of construction are reviewed.

Motifs and symbols have had a high status in Iranian art. These motifs contain the experiences, cultural and religious beliefs of their time, so they help to understand better the evolution of the thoughts of the people of their time. One of the important features of Achaemenid works of art is the decorative motifs used in it, affecting the art of different historical periods profoundly. One of the most frequent motifs used in Achaemenid art is the eagle, a bird associated with the sky and the sun. The Achaemenids always used motifs to emphasize their power and legitimacy in their works of art. The eagle's role has been depicted in the main artistic media of the Achaemenid period, namely flags, architecture, ornaments, and embossed designs. This research seeks to address the following questions: 1. Studying the Eagle's iconography, what items are seen as the symbolic value of these works? 2. Why has the eagle's role repeatedly appeared in the Achaemenid art media? 3. And why is it emphasized in most cultural data on the open wings of this bird? The research question focused on the relationship between this role in the Achaemenid period and its iconographic analysis. The present research is descriptive-analytical, and the method is iconography. Gathering information was done using libraries, mythological and field. In this regard, the designs are first described and then analyzed to explain the concepts behind this symbolic role and achieve its values and basic concepts relying on the iconographic method. The results showed that the eagle's role is universal, and according to the characteristics of the wide-winged eagle, it is the archetype of divinity. Thus the Achaemenid kings used an animal archetype to project power and legitimacy to their subjects.

Persepolis is from the relics of the Achaemenid era in southern Iran, where the elements of architecture, decorative, and written texts are studied from various angles. The purpose of this research is to identify and identify the elements of the element of collective identity as well as the symbols of the national integrity in the elements mentioned above. The motifs used in the construction of Persepolis, alongside the great structure, have been directly and implicitly indicative of the communist spirit or the convergence of the builder kings. The question that the present paper tries to answer is that, despite the fact that in the Achaemenid world of different nations, the Persian rulers have elements and components in Persepolis (including structures, motifs and Inscriptions), which made the nations a subsidiary part of the political sovereignty of the empire towards the establishment of a global state? It seems that the Achaemenids in the use and adaptation of the artistic and technical elements of the nations in the Persepolis, in addition to the aspect of aesthetics, have also considered their cultural-political dimension. All of these elements and artistic elements have, in a way, expressed the notion of collective identity in a whole and in the sense of the empire. In general, all elements were served in such a way that their visitor was considered in a perfect agreement with other nations and equal, and considered for himself and his nation a single identity. This issue was very influential in the coherence of the empire, and the Achaemenid kings also knew about it. The method of this research is based on library studies, walking surveys of relives and descriptive-historical analysis.

Iran, with its rich mineral resources, natural attractions, wonderful artistic artefacts, and diverse cultures and thoughts has influenced the art and civilization in different historical periods and has always had a significant position in the world. On one hand, these natural resources, and Iran's ancient history and civilization on the other hand, have the context of producing-economic activities, the cause of social richness and cultural diversity in all periods. On the other hand, the connection between art and life has always been important throughout human history; Iran is no exception to this rule and is world famous for its various and brilliant arts. For more than two thousand years, the old and new civilized world has praised the Iranian talent for beauty.  In addition, Iranian art is based on decoration; In other words, the life history of different human societies in Iran and in the world in general cannot be separated from the history of its ornaments. The main purpose of this article is to present a good view of the evolution of jewelry in ancient Iran from the beginning of the Achaemenid era to the end of the Parthian era. Firstly, we study the different artistic and practical aspects of some of the valuable works discovered from the Achaemenid and Parthian periods, and then we discuss the similarities and differences in them using thematic adaptation and used forms. At the end, we talk about precious and practical stones in their art. The method used for data collection was library method. The research method is descriptive-analytical. The analysis of the data is done qualitatively. The findings indicated the similarities and differences of forms and role of the discovered valuable things, in particular the arrays and ornaments, which were so important in representing the influence of Iranian beliefs, myths and thoughts in different periods on each other and on other countries. Although the remaining works of these periods have significant differences in terms of diversity and effect, due to technical skills, the balance among attractiveness and artistic taste, effects of colors, combination of paintings, artistic methods has been achieved. High understanding of Iranian artists in all eras indicates the rich culture of Iranian and their lovely artistic taste, especially decorative arts and jewelry making. Also, by comparing the objects left from the studied periods, ie Achaemenid and Parthian, according to their political and cultural situation, as well as the time sequence of these periods, we find similarities and differences, including the impact Culture and art are each according to their cultural structure. In the Achaemenid period, due to the richness of the state treasury and also the great attention to the kings and the glory of the court, their art is a reflection of their political principles and aristocratic moral concepts; However, in this age, many artists have created works of art with creative ideas from different lands; However, due to the orders of the kings and the lack of freedom of action in the work of art, they used a special method and style in creating works that can be called court style. Of course, in the flourishing of decorative art, the innumerable wealth of the Achaemenids played a major role that other sections of society were deprived of. This issue is evident in the Parthian government due to the influence of Greek culture and the spread of wealth among different segments of the population in the form of more use of ornaments and decorative elements in the relics and their sculptures and coins and the people's interest in decoration and Its adornment in this period is its manifestation. The end result is that the influence of beliefs, myths and beliefs on jewelry reached its peak in the Achaemenid period; And after this period, in the Parthian period and after that, the forms and motifs of ornaments underwent changes in order to simplify and merely decorate these objects, which can be easily seen in a comparative comparison between Achaemenid and Parthian ornaments.

Issue statement: The Sphinx is one of the types of composite creature’s motif that the
ancient man created it with his own mind and imagination and developed it with different
concepts and appearances during different historical periods. This motif had also appeared
in Iran and were used in ancient and Islamic times. Despite the use and significance of the
Sphinx in Iranian historical periods, this motif has been less studied and is still considered
to be ambiguous. Therefore, in this research, the Sphinx has been studied as widely used
motif in two historical periods of Iran, the Achaemenid in ancient era and the Seljuk
in Islamic era.

The purpose of this study is to compare the differences and
similarities of the Sphinx in the Achaemenid period and the Seljuk period.
Research

The images of the Sphinx during the Achaemenid period and the
Seljuk period and its related concepts were searched and based on descriptive method,
the characteristics of each were described in the tables separately and the most important
structural features of motifs were identified. Then, with an analytical approach, the possible
reasons and sources of their application have been discussed and analyzed. In addition,
from a visual perspective, they were examined and finally matched together.

The results of this study indicate the similarities and distinctions of the
Sphinx in these two historical periods. In general, it can be said that in the most cases,
Achaemenid art and Seljuk art, the Sphinx in terms of structural features are different and
in terms of concepts and functional role have many similarities. In the visual examination,
it was also found that both of them are similar in terms of composition, rhythm, and type
of script. The Sphinx in the Achaemenid period symbolizes the sun, the power of the
kingdom, the protector of the tree of life and palace guardian, the prayers on both sides of
the tree of life. In the Seljuk period, it is the symbol of the sun, blessing, mystical aspects,
constellations, magic, palace guardian, the protector of the tree of life, and the prayers on
both sides of the tree of life

In this paper the bituminous water proof mortar, which has been used between the bricks in the Achaemenes monument of Tall-e-Ajori in Persepolis, has been analyzed by different instrumental chemical analysis methods, such as Fourier transform infrared spectroscopy (FTIR), X ray diffraction (XRD and X ray florescence spectroscopies (XRF). Moreover, due to identifying the chemical structure and explanation the degradation processes during thousand years of remaining inburial environment, the classical extraction by organic solvents and optical microscopy studies were also done. According to classical extraction test results, the physical state of the bituminous water proof mortar is a duple mixture that include organic and inorganic parts, where the characteristic of the material is actually a natural asphalt. The organic part of this bituminous mixture was analyzed by FT-IR method for identifying the main organic functional groups such as alkanes and aromatic molecules, XRD analysis determined the presence of inorganic phases such as Calcite, Anhydrite, Feldespar (Ca), Quartz and Dolomite, and the result of XRF analysis determined weight percent of CaO, SO3, SiO2, Al2O3, Fe2O3 and MgO. The degradation processes during thousands of years in the burial environment have developed the age-hardening reactions which decrease the saturated molecules concentration such as oils and resins in bituminous mixture, and caused the enhanced fragility and brittleness in the structure of the material. So, the results obtained clarifies the importance of conservation programming and climate controlling for optimum preserving of the bituminous mixture mortars in the Achaemenes monument remains of Tall-e-Ajori in persepolis.

The aim of this paper is studying the evolution of horse imageryand recognizing the position of horses، both structurally and conceptually،from Median toAchaemenid eras. The question is that what position the various images of horses hadin terms of concept، aesthetic structure and function in Median and Achaemenid eras. In this study، horse images from Median artifacts to Achaemenid reliefs are studied in terms of aesthetic harmony of horse depictions، functional proportionateness of tools، the crucial role of horse in containers and rhythuns، and the cultural، political and social place of horse. The results indicate that the Median holy and ritual horse، depicted with simple and abstract forms associated with ritual and symbolic meanings that would be buried besides its owner to crossto the other world after death and to guard the deceased against the evil forces، in Achaemenid era appears naturalistically and refined besides the man in royal formalities with social intentions.

The city of Shushtar is indebted to the Karun River for its development, and represents one of the earliest Iranian cities. Established on a sand cliff, the city currently lies several meters above the river level that would have caused difficulties in exploiting water from the river. The problem was dexterously resolved by the local residents through construction of weirs, irrigation canals and flumes. The Karun is divided into two branches of Gargar and Shatit to the north of Shushtar, which join again at Band-e Qir (Bitumen weir) almost 40km south of Shushtar. Bounded by these branches, Shushtar resembles an island with a width of 10 to 15km and ca. 40km length. Almost 300km upstream from Shushter weir, two main and several secondary tunnels have been dug under Salasal Fort, with their mirage lying in the Shatit River not far from divergence point of the river north of Shushtar. After running for 100m, the tunnels confluence creates the open canal of Daryon, which later splits again into two channels at Khak weir in southwest of Shushtar. The first channel flows into the Shatit River at the Arab Hasan weir after running 33km. Lashkar and Shah Ali weirs, near Abdullah mausoleum, and Khak weir have been constructed on the channel in order to manage the water flow. The fact that the Daryon canal is hand cut and artificial is supported both by the references in historical sources and by the fact that the cliffs on which Shushtar lies and the canal was cut through, reveal traces of axes. However, the exact construction date of the canal is more difficult to establish. The Greek historical documents such as those by Herodotus and Xenophon, and the Iranian sources such as those by alTabari and al-Mas’udi demonstrate Shushter as flanked by two tributaries of the Karun. However, they simply mention the Gargar canal or al-Masroqan river (ancient name of the Karun). Some scholars argue that the canal was founded to solve the problems in regards to crossing the river and to direct the water to southern Shushatr plain under Daruis III, thus attributing its origin to the pre-Alexandrian period. They also maintain that as the river got deeper the water failed to flow over the weir, therefore the Shadravan weir was reconstructed or replaced the earlier one during the Sasanian period to allow the water to flow over. Others believe that the Daryoon stream was dried up as a result of destruction of Shadravan weir and attribute the construction date of the canal and its weir to the Sasanian period. The present paper discusses the construction technique of the Daryoon canal from technical aspect and based on archaeological and historical evidence analyzes whether it was constructed earlier or later than or at the same time with the Shadravan weir, Mizan barrage and the troglodyte Gargar canal, which are all hydraulic installations created during the Sasanian period.

Always beautiful and rich fabrics is considered as the main features and characteristics of the Orient because dress as a manifestation of art, has originated in East and in some sort indicates the authority, pomp and glory of clothing, especially in Asia. In this paper, textile designs in three Achaemenid, Parthian and Sasanian periods have been studied. For this purpose, first with referring to religion, culture, symbols and beliefs of each period, important motifs used in clothing and textiles during each period has been reviewed and changes of each period has been taken into consideration. Weaver artists of those mentioned eras, while paying attention to the public taste and public opinion, they were not indifferent to Innovations and their efforts were on offering the textiles with high quality and various patterns. That's why this profession was the last great boom and can be stated based on the diversity of designs, in the ancient Iran, especially in Sassanid era there have been equipped weaving machines.

The evidences of Achaemenid architecture in Iran's present boundaries are numerous palaces which are scattered in parts of Fars and Bushehr provinces.In most of ancient archeology and architectural probes special confirmation have been on the manner of scattering, the particularities of architectural structure and embossed designs, and with no special concerns about the engineering's approaches and architectural designing of different parts of the buildings.he present researches are an effort to investigate the chnical approach with engineering analysis of hotoconductivity and air-conditioning system of Takht-Jamshid monuments. On this plan, after performing the udies on libraries scale, and investigating the past istory of research, using 3DMAX software's and three imension designed models, we have started to nvestigate the issue.The results obtained from this research indicates that the optical and air-conditioning systems of the council halls and the other similar Monitory estate house contrary to the ancient designs, were in a lateral shape. In a shape that the difference in the attained height of the exterior and interior walls of these palaces provided a suitable condition for Photoconductivity from the sides of the walls by installing some windows on the top of it.

The literature of the present study is so huge and the material used in their inscription and findings are archeological. In this research, the Librerian method and field reports were used. To the authers archeological materials are needed to understand the cultural relations between Persia & Egypt during this time. Thus, one could divide these materials in to two groups. First, the Persian archaeological finds in Egypt and second, the Egyptian archaeological finds in Iran. There are some typical archaeological materials in Egypt refer to Achaemenids. The inscriptions of Wadi Hammamat in Hieroglyph writing، the inscriptions of mausoleum achaemenids and Elephantine Papyrus carrying an Aramaic and the bas relieves from Memphis & Carved motives on the walls of Hibis، and the inscriptions of Darius I in Suez Cannel. We can refer to such an Egyptian style Statue of Darius I in Susa. The Egyptian Scrubs Stamp from Qazvin Plain، the wares with hieroglyph inscriptions from Perspolis and the objects related to the Egyptian Myth & magic believes found in Perspolis. Also Achaemenid administration seal impression. According to the finds it is concluded that there was a strong effect of Egyptian culture on the Persian one.