Archive for the ‘News’ Category

Kaveh Farrokh Interviews: Persian Heritage Magazine and Voice of America

Sunday, April 6th, 2014

Kaveh Farrokh has been interviewed by the Persian Heritage Magazine (published March 31, 2014) and Voice of America (published April 1, 2014) regarding the 300 sequel and Noah (starring Russell Crowe).

Persian HeritagePersian Heritage Magazine (Volume 19, Number 73, Spring 2014, pp.32-34) – download edition in pdf. Note that the text/interview is in Persian. The above picture of Farrokh is from the WAALM event in London where he received the “Best History Book of 2008″ award for “Shadows in the Desert: Ancient Persia at War (see also BBC-Persian report). The book has been translated into Persian by two separate publishing houses in Iran (Qoqonoos publishing-see Mehr News & Press TV report and Taghe Bostan Publishers of Kermanshah Azad University) and Russian (consult Russian EXMO Publishers website). Farrokh’s  book was also nominated as one of three finalists for the Benjamin Franklin Award in 2008. The book has also been reviewed in peer-reviewed academic journals such as the Iranshenasi Journal (2010) and the Quarderni Asiatici Journal of Italy (2011). In addition to teaching history at the University of British Columbia, Farrokh also serves as استاد سنتها و تاریخ فرهنگی ازدانشکده دیپلماسی فرهنگی وآلم ـ انگلستان-Chair of the Cultural Diplomacy’s Department of Traditions & Cultural History of the WAALM Academy in London, England (see also Academia.edu).

Kaveh Farrokh was also interviewed with other participants in the Voice of American Persian program entitled [صدای امریکا -برنامه افق-با میزبانی سیامک دهقانپور-تاریخ و سینما: از ۳۰۰ تا نوح] “Voice of America – The Horizon – Hosted by Siamak Dehghanpur – Date Cinema: From 300 to Noah“:

صدای امریکا -برنامه افق-با میزبانی سیامک دهقانپور-تاریخ و سینما: از ۳۰۰ تا نوح-Voice of America – The Horizon – Hosted by Siamak Dehghanpur – Date Cinema: From 300 to Noah. Note that Farrokh had already published an extensive retort against the first “300″ movie (2007) entitled: The 300 Movie: separating fact from Fiction.

The program produced a lively discussion, but unfortunately the shortage of time prevented the full exploration of a number of points, namely whether (1) the movie is political in nature and (2) Zoroastrianism and the Achaemenids. Five more topics also need to be discussed in two more follow-up postings, but for now, topics (1) and (2) are discussed below:

(1) The proposal that the new “300″ movie does not serve any particular political and especially anti-Iranian agenda

It was suggested (not by Kaveh Farrokh) that the movie is entertainment cinematography and not intended to be an anti-Iranian picture. This notion is challenged by a number of prominent Western professors and journalists. Professor John Trikeriotis (himself of Greek ancestry) has begun a petition entitled: Adding a disclaimer or explanatory message to “300: Rise of an Empire”. Readers are strongly encouraged to sign the petition and support Professor Trikeriortis’ initiative.

John TrikeriotisProfessor John Trikeriotis strongly opposes the false historical messages in the movie “300 Rise of an Empire”. He has initiated a petition against the movie (click here…)

Akbar Montaser, one of the regular readers of Kavehfarrokh.com noted the following on April 7, 2013: “I still believe there is a tendency to demean Iran. This is done “cleverly”, not intelligently. If one does not see the Truth, the same disasters will be repeated based on history“.  It is in this light that readers are introduced to the excellent article by Jehanzeb Dar in Racialicious: intersection of racism and Pop Culture:”Frank Miller’s “300′′ and the persistence of accepted Racism“. Below are some quotes from Jehanzeb Dar’s article:

I was absolutely outraged by the racist content of the film and more so at the insensitivity of movie-goers who simply argued “it’s just a movie.” Later on, I would hear these same individuals say, “The movie makes you want to slice up some Persians”…“300”…represents the ever-growing trend of accepted racism towards Middle-Easterners in mainstream media and society, but also the reinforcement of Samuel P. Huntington’s overly clichéd, yet persisting, theory of “The Clash of Civilizations” which proposes that cultural and religious differences are the primary sources for war and conflict rather than political, ideological, and/or economic differences. …“300” grossed nearly $500 million worldwide in the box office…suggest that movie-goers share the film’s racist and jingoistic views…”

The late Samuel Huntington’s Eurocentric (if not racist) formula is unhelpful as it diverts the discussion away from the real causes of contemporary military conflicts, which are for the main part based on economics and geopolitical factors.

Samuel P. Huntington - World Economic Forum Annual Meeting Davos 2008The late Professor Samuel Huntington (1927-2008) who proposed the idea that wars are the result of the “Clash of Civilizations”. Huntington’s thesis has helped re-invigorate Eurocentric views of “race” and how these “explain” the so-called “East vs. West” paradigm. The “300″ movies represent the revival of Eurocentricism in entertainment, the media in general and increasingly in academia, even within Iranian Studies: see for example a conference in Washington DC (March 9, 2013) and the petition of Professor Yarshater against the appointment of unqualified persons in Iranian Studies programs (December, 3, 2013).

Revisiting the notion of “300″ being “harmless entertainment”, let us return to Jehanzeb Dar’s article cited earlier. The movie clearly attempts a Eurocentric-style “East = backwardness and oppression” versus “West=Freedom and Democracy“. This is again overly simplistic, as Demos (People) Kratus (rule) or Democracy in Athens did not apply to the entirety of society, especially to women. This is exemplified by Greek philosophers such as Socrates (d. 399 BCE) who stated in his Book 8 that “…one sign of democracy’s moral failure is the sexual equality it promotes” (563b; consult Nickolas Pappas, 2003, Routledge Philosophy Guidebook to Plato and the Republic, New York: Routledge). The topic of women’s rights in ancient Achaemenid Persia, and the views of women by contemporary Greek philosophers shall be addressed in ensuing postings.

cyrus-cylinder-NewThe Cyrus Cylinder (Picture Source:  Angelina Perri Birney - see her article here…). Just as Greece was evolving with the concept of Democracy, so too had the Achaemenids  proclaimed the freedom of peoples to practice their cultures and religions, as exemplified by the cylinder proclamation of Cyrus the Great (559-530 BCE). The history of Cyrus’ proclamation has been challenged by what some would regard as Eurocentric views (see Human Rights Petition…

There is in fact strong coordination between Hollywood Heads and Studios and US foreign affairs departments. Consult reports below by highly reputable media outlets:

The Office of the Coordinator of Inter-American Affairs (established in the 1940s) was tasked to promote inter-American cooperation during the 1940s in the distribution of news, films and advertising, to counter the propaganda of World War Two fascist Italy and Nazi Germany.

The Office of the Coordinator of Inter-American Affairs was later renamed as the Office of Inter-American Affairs (OIAA) with slightly changed powers as per Executive order 9532 on March 23, 1945.

Readers are also invited to consult the article Re-Birth of a Nation“, penned by Osagie K. Obasogie and posted in Genetics and Society on September 19th, 2007 with respect to the first 300 movie. Below are some excerpts of the Obasogie article:

“…300 is arguably the most racially charged movie since D.W. Griffith’s The Birth of a Nation. In true post-9/11 form, Zack Snyder’s film turns Brown into the new Black; Persians are depicted as bloodthirsty savages thwarted … by a small contingent of freedom fighters – with noticeably paler skin – looking to preserve democracy at all costs. This eerily resembles Birth of a Nation, the 1915 epic celebrating the Ku Klux Klan’s rise … to defend Southern whites’ dignity and honor against what were then seen as recently liberated Black insurgents. Like Griffith’s film, this mixture of race, racism, sex… racialized depiction of freedom, nation, and democracy becomes central to 300′s … message. But closer inspection reveals a subtler, yet similarly troubling idea that has gone largely unnoticed: 300′s unapologetic glorification of eugenics.”

Whether one chooses to agree or not with Osagie K. Obasogie or Jehanzeb Dar, serious questions may be raised as to the picture’s true intentions. By the same token, profound political and ideological divisiveness has prevented the Iranian community (diaspora and inside Iran) from coalescing towards a concerted approach. There is for example no real “Iranian anti-defamation League” to protest against Hollywood producers and international cultural venues in general for presenting Iranians as propaganda targets.

The WAALM School of Cultural Diplomacy however, has worked towards the establishment of cultural dialogue at the international level with success, and has in fact been nominated for the Nobel Peace Prize in 2011 (see also original report: Nobel Peace Prize 2011: World Academy of Arts, Literature and Media (WAALM) Nominated | Persianesque: Iranian Magazine). For more on WAALM’s initiative in international diplomacy click on the image below:

ACUNS-WAALM-Nobel

(2) The Achaemenids and Zoroastrianism

Towards the end of the program one of the participants asserted that there is “no absolute proof that Achaemenids were  Zoroastrian“. Farrokh only had a few minutes to respond adequacy and in full, which is why this complex topic, which is why it needs to be re-addressed. In principle, yes, the Achaemenids were not Zoroastrian in the sense of an institutionalized religious system during the Sassanian era (like Papacy of Rome), however the notion that they (Achaemenids) were “not Zoroastrian” is highly misleading.

First, the doctrine of Zoroastrianism versus the religious institution of Zoroastrianism cannot be so simplistically equated. The Achaemenids did know of Zoroaster’s teachings, however these were yet be  institutionalized into a complex state religious system, as occurred (in its finalized form) during the Sassanian era (224-651 CE).

There is clear proof that Zoroaster and his teachings were known in the ancient world. Xanthus of Lydia for example, who was a contemporary of Herodotus (5th century BCE), is the first westerner to mention Zoroaster by name (Yamauchi, 1990, p.400). Herodotus (like Plutarch later in the 2nd century CE) does not mention Zoroaster by name, but his descriptions of the tribe of the Magi priesthood and Persian customs clearly point to Zoroastrian beliefs (in Chapter XIII of Herodotus’ The Histories, Penguin Classics, London: England, 1972). Similar classical descriptions are found in Strabo (63 BCE-19 CE) where references are made to the Magus, worship practices and the god Mithras (passage 15.3.13-14 of Strabo, Geography, translated by H. L. Jones (ed.), Perseus project, Tufts University, 2000). For more on this subject, a list of readings are provided at the conclusion of this section.

The School of Athens by Raphael 1509- Zoroaster left, with star-studded globeA detail of the painting “School of Athens” by Raphael 1509 CE (Source: Zoroastrian Astrology Blogspot). Raphael has provided his artistic impression of Zoroaster (with beard-holding a celestial sphere) conversing with Ptolemy (c. 90-168 CE) (with his back to viewer) and holding a sphere of the earth. Note that contrary to Samuel Huntington’s “Clash of Civilizations” paradigm, the “East” represented by Zoroaster, is in dialogue with the “West”, represented by Ptolemy.  Prior to the rise of Eurocentricism in the 19th century (especially after the 1850s), ancient Persia was viewed positively by the Europeans.

If Greco-Roman sources are so clear about Zoroaster’s doctrines, then how can the Achaemenids not have known of Zoroaster, or respected his teachings?

Much like later Christianity, when the early doctrines of Christ predated the religious institution of Christinaity, so too did the doctrines of Zoroaster precede the religious institution of Sassanian Zoroastrianism.  A (broadly-speaking) similar process occurred with respect to Christ’s early teachings when Emperor Constantine the Great (r. 306-337 CE) declared Christianity as the official religion of the Roman Empire.

The question is how were Zoroastrian doctrines practiced during the Achaemenid era as ancient Iranian theology was invariably complex (as attested to in Zoroastrian documents). Zoroaster was, in a sense, a reformer of the more ancient Iranian cults, perhaps he was at first one of the followers of the cult of Mithras, but direct evidence is certainly lacking for this suggestion. What is clear is that there is solid proof of Achaemenid respect for Zoroaster’s teachings, as seen with the Zoroastrian Fravahar symbol depicted at Persepolis:

Fravahar-PersepolisDepiction of the Zoroastrian Fravahar at Persepolis (Photo source: Mani Moradi, 2012). This indicates that the doctrines of Zoroaster were known by the Achaemenids, and they clearly respected these, as indicated by the depiction of this symbol at their regal locale of imperial power.

To further consult this topic, readers are referred to:

  • Nigosian, S.A. (1993). The Zoroastrian Faith: Tradition and Modern Research. Montreal & Kingston: Mcgill-Queen’s University Press.
  • Yamauchi, E.M. (1990). Persia and the Bible. Grand Rapids, Michigan: Baker Book House; see especially chapters 12 (Zoroastrianism), 13 (The Magi) and 14 (Mithraism).
  • Boyce, M. (2001; first published in 1979). Zoroastrians: Their Religious beliefs and Practices. London: Routledge Taylor & Frances Group.
  • Kriwaczek, P. (2003). In Search of Zarathustra: The First prophet and the Ideas that Changed the World. Weidenfeld & Nicolson.

Future postings will further discuss topics related to the “300″ sequel movie discussed in the Voice of America interview:

  • The real reason for war: commerce and economics
  • Military falsifications of the 300 movie
  • The historical Themistocles
  • Women of ancient Iran
  • “Nordification” of ancient Greeks

Photos of Old Tehran: 1920s-1940s (Part I)

Saturday, March 29th, 2014

This posting is a continuation of a previous posting entitled “Maps and Photos of Old Tehran” (click Image below for details):

02b-Tehran-Map-1848

Below are photos of Old Tehran in the time span of the 1920s to the 1940s.

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Commercial Areas

tehran-drugstoreTehran drugstore, circa early 1920s.

Sepahsalar Mosque

sepahsalar-mosque-ealry-1920sSepahsalar Mosque, circa early 1920s.

Sports Stadiums

amjadiyeh-sports-stadium-circa-1936Soccer match at Amjadiyeh Sports Stadium, circa 1935-1936.

Laleh-Zar Street

cafe-pars-lalelhzar-1920sCafe Pars Laleh-Zar, 1920s.

laleh-zar-1circa-1940sLaleh-Zar street circa 1930s.

laleh-zar-street-circa-1940sLaleh-Zar street circa 1940s.

laleh-zar-19471Another view of Laleh-Zar street circa 1940s.

lalehzar Avenue 1946Laleh-Zar street in 1946.

Other Tehran Locales

south-end-of-naderi-intersection-at-south-end-of-british-embassySouth end of Naderi intersection and south end of the British embassy, circa late 1930s.

Shahabad 1949Shahabad in 1949.

old-tajrishTajrish as it appeared in Tehran circa 1940s.

Cafe naderi 1947The Cafe Naderi in 1946, famous for its deserts, coffee, teas, etc. and its jovial atmosphere.

John Trikeriotis: False depictions of Xerxes and Artemesia in “300: Rise of an Empire”

Saturday, March 22nd, 2014

Historian John Trikeriotis, himself of Greek descent, has written an excellent critique of the sequel to the original 300 movie entitled: “300: Rise of an Empire” And Its Ahistorical Depiction Of Xerxes The Great And Queen Artemisia” (Payvand News, March 16, 2014).

John Trikeriotis Historian John Trikeriotis is a lecturer of ancient Greek warfare and member of the archaeological group, “The Leonidas Expeditions”. In addition, he created the 300spartanwarriors.com, which is used by schools and libraries as a resource on the Battle of Thermopylae.

Trikeriotis’ article is reproduced below; kindly note that excepting one photo, all other pictures posted in the version below originally appeared in Kaveh Farrokh’s response to the first 300 movie entitled: “The 300 Movie: Separating Fact from Fiction“. All commentaries for the pictures are posted by Kavehfarrokh.com. There is also a section of the History Channel program “Engineering an Empire: The Persians” embedded into Trikeriotis’ article below.

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The historian Herodotus of Halicarnassus wrote in Book 7, Chapter 187 (Aubrey De Selincourt translation) that: “Amongst all these immense numbers there was not a man who, for stature and noble bearing, was more worthy than Xerxes to wield so vast a power.” Yet, the Warner Bros.’ movies “300”, and its followup “300: Rise of an Empire” which premiered last week, elected to characterize the Achaemenid king based on the eponymous Frank Miller comic book series. His depiction in both of these films as a multi-pierced, bejeweled royal has greatly contrasted with the appearance of Darius the Great’s son, who was immortalized on the palatial reliefs of Persepolis, and more accurately portrayed in the 1962 20th Century Fox motion picture, “The 300 Spartans”.

Pic32-Xerxes-in-GreeceA historical reconstruction by Professor Nick Sekunda: Court Eunuch (left), King Xerxes (centre) and Royal Spearbearer (right) (Nick Sekunda, The Persian Army, Osprey Publications, 1992, Plate B; Paintings by Simon Chew). For more see Farrokh’s “The 300 Movie: Separating Fact from Fiction“.

While this physical transformation in the movie is disconcerting, it pales in comparison to the embellishments with respect to Xerxes’ reign over his forces during the Graeco-Persian Wars. More succinctly, it is the symbiotic relationship between Xerxes and Queen Artemisia of Halicarnassus which is appallingly ahistorical. Herodotus recorded through oral testimony that Artemisia commanded five vessels, and added that Xerxes was so impressed as to her gallantry during the Battle of Salamis (September 480 BCE) that he stated, “My men have turned to women, and my women to men.”

While this anecdote may be apocryphal, screenwriters, Zack Snyder and Kurt Johnstad, have significantly expanded the role of Artemisia beyond incredulity. Portrayed by French actress Eva Green, the Queen of Halicarnassus’ influence over Xerxes coincides with her ascension to the rank of admiral in the Persian king’s navy. In a series of vignettes, any officer or official of the court who remotely looks as if they will present a challenge to her rise in power is deftly dispatched.

300-Rise-of-an-Empire-Queen-Artemisia-HRFantasy portrayal of Queen Artemesia of Halicarnassus (as portrayed by French actress Eva Green) and Persian Immortal guards (Source: Payvand News). The movie not only distorts the attire and equipment of Artemesia and the Immortal Guards, it also presents a caricature image of both Greeks and Persians in antiquity. For more on this topic of false portrayals, kindly see Farrokh’s “The 300 Movie: Separating Fact from Fiction“.

In what is perhaps one of the most implausible scenarios from this latest motion picture, Xerxes I (Rodrigo Santoro), as a result of Artemisia’s Machiavellian maneuvering, plays a subordinate role and is essentially emasculated in the process. Furthermore, historicity continues to suffer when the queen in another moment of bravado and posturing declares “I will attack the Greeks…with my entire navy.” While this rhetoric may fit into the context of the movie, in reality her fleet was so proportionately small relative to that of the entire Persian armada of 600 plus vessels that it is highly improbable that she could have had a major impact on either of the naval battles of Artemisium (August 480 BCE) or Salamis.

Pic6-Ach-NavalVessels-PhotoReconstruction of Achaemenid ships in 1971; for more see Farrokh’s “The 300 Movie: Separating Fact from Fiction“.

There is one bright spot in the film which begins with the Battle of Marathon (490 BCE) and ends with the Battle of Salamis. It is the image of the construction of the two bridges over the Hellespont (modern day Dardanelles), which enabled Xerxes’ army to march from Abydos to Sestos. Measuring a distance which has been conservatively estimated at approximately 1,400 yards, while spanning over the Hellespont’s turbulent waters, these structures are considered one of ancient history’s greatest engineering achievements.


Part Four of the History Channel program “Engineering an Empire: The Persians; this section discusses Xerxes’ construction of the bridge over Bosphorus, linking Europe with Asia.

The battles and several of the combatants featured in “300: Rise of an Empire” have been chronicled by ancient historians, as was the three-day naval engagement at Artemisium. As one of the focal segments of the film, it was fought concurrently, on the same days as the conflict at Thermopylae. However, the fighting at Thermopylae is not depicted, only its aftermath is included. Apparently the studio felt compelled to reference the death of King Leonidas and the Spartans during the last stand since it would validate the application of the “300” moniker in the follow-up film’s title. Furthermore, Noam Murro, who succeeded Zack Snyder as director, continued linearly with his predecessor’s visual style. Unfortunately, “300: Rise of an Empire” also maintains the same approach for rendering much of what is shown on the screen as caricature.

New Book by Andrew James: Blood of Kings

Sunday, March 2nd, 2014

Andrew James’ new book “Blood of Kings” has captured the very spirit of the Ancient Achaemenids.  Thanks to James’ deep understanding and appreciation of the ancient Achaemenid Empire, he literally takes the reader back in time to the Persians of old.

BLOOD OF KINGS coverjpgAndrew James’ book “Blood of Kings” is available from Amazon, Amazon Canada, Amazon UK, Kobo, Apple iTunes and other online stores.

“Blood of Kings” is a highly recommended historical novel for students of ancient history. James has succeeded in providing a balanced view of the ancient Persians, one that goes past Eurocentric views and even Orientalism – this results in the reader seeing a more human side of ancient Persia.

Cyrus-Babylon[Click to Enlarge] A painting of Cyrus the Great-کوروش بزرگ- as he enters Babylon (Picture Source: Mani-Persepolis.nu). Cyrus’ arrival occurred just as the inhabitants of Babylon were engaged in celebrations and festivals, as corroborated by Greek sources (Herodotus, I, 19; Xenophon, Cyropaedia, 7. 5.15). The Nabonidus Chronicle also states that “Cyrus entered Babylon…the state of peace was imposed on all the city, Cyrus sent greetings to all Babylon” (Nabonidus Chronicle, III, 12-22). The inhabitants of Babylon-city are recorded as having laid branches before Cyrus as he entered through the city gates. To learn more, click here…

Set against the backdrop of Persia’s invasion of Egypt in 525 BC, Blood of Kings tells the story of the death of Cyrus the Great, the succession and death of Cambyses, and Darius the Great’s rise to power. Inspired by the magnificence of the ancient Persian Empire, it is one of very few books in Western literature to be written from a Persian point of view, with the story being told largely through the eyes of Darius himself. Whereas many Western writers paint an unfair picture of the ancient Persians, Andrew James has depicted them truthfully, showing them to be by far the most advanced nation of their day.

Part Three of History Channel Program “Engineering an Empire: The Persians” (2006). This section discusses Darius the Great’s Royal Road, the Battle of Marathon, digging of the canal between the Red Sea (ancient Arabian Gulf) and Mediterranean Sea, and the building of the bridge over Bosphorus. For the entire History Channel program see:  Engineering an Empire -آغاز یک امپراطوری – هخامنشیان-

Andrew was born in London and studied Philosophy, Politics and Economics at Trinity College, Oxford, before practicing for twelve years as counsel at the English Bar. Visiting Iran in 2005 and 2007 he was captivated by the beauty and sophistication of Persepolis, and by the highly advanced culture it revealed. After learning of the size of the Persian Empire, Andrew decided he wanted to know more about these ancient Achaemenid warriors, whose armies conquered on three continents, including Europe.

akenakes-achaemenid-dr-khorasani1[Click to Enlarge] Achaemenid Akenakes. Note the lion and ram motifs on this finely crafted weapon, both symbols of ancient Iran (Copyright of Dr. Manouchehr M. Khorasani, 2006 – for more see here… and his Facebook page).

Reading a translation of the Bisitun Inscription while standing beneath the great carving James was gripped by the drama of Darius’s account, and was inspired to retell the story in a novel. Andrew then set off to follow the probable line of march of Cambyses’s army across the desert to Siwa Oasis in Egypt, and in 2008 he gave up his career at the Bar to move to the desert, where he spent three years researching and writing his first novel, Blood of Kings.

The Wall of JerusalemThe West Wall in Jerusalem. After his conquest of Babylon, Cyrus the Great-کوروش بزرگ- allowed the Jewish captives to return to Israel and rebuild the Hebrew temple. It is believed that approximately 40,000 did permanently return to Israel. To learn more, click here…

To write Blood of Kings Andrew spent several years researching ancient Persian history and military affairs, including several visits to the National Museum in Tehran and smaller museums around Iran. The book not only makes a thrilling read for lovers of historical adventure, but also sympathetically portrays ancient Persian culture and life. Blood of Kings has received such a warm welcome from Iranian readers around the world, that Andrew has already received an offer from a respected publisher in Tehran to translate it into Persian.

Bagh e Eram of ShirazA descendant of Cyrus the Great’s Gardens at ancient Pasargadae: The Garden of Eram at Shiraz, one of those Persian Gardens in Iran declared as UNESCO heritage sites (Photo provided to Kavehfarrokh.com by Mani Moradi).

Tribute to Babylonian God Marduk discovered at Persepolis

Saturday, January 25th, 2014

The Voice of America Persian Service has reported that a joint Iranian-Italian archaeological team has discovered at Persepolis a sample of brickwork depicting the Babylonian God Marduk (see report in Persian here…- complete Persian text available below this posting). Ali-Reza Asghari Chavoshi, a professor at the University of Shiraz and head of the Iranian wing of the archaeological exploration team (علیرضا عسگری چاووشی، استاد دانشگاه شیراز و رئیس ایرانی هیئت کاوش) noted the following points to the Cultural Heritage (میراث فرهنگی) organization:

1) -نماد ایزد مردوک و دیگر نقش های این بنا بعد از کورش دیگر در هنر هخامنشی دیده نشده است- the portrayal of the god Marduk and other forms at this post-Cyrus site has not been seen in Achaemenid arts.

Marduk Patron God of Babylon[Click to Enlarge] A Snake-Dragon image-symbol of Marduk, the Patron God of Babylon (Panel of glazed earthenware bricks, Ishtar Gate, c. 604-562 BCE; Picture source: Detroit Institute of Arts). Instead of plunder and destruction, like the former kings of the preceding Assyrian Empire, Cyrus paid homage to the local Babylonian god Marduk and ensured that no looting, plunder or destruction took place in that ancient city. 

2) در زمانی که کورش در سال۵۳۹ پیش از میلاد بابل را فتح کرد، کاهنان بابلی ایزد مردوک را به عنوان بزرگ -ایزد آسمان ها و زمین می پرستیدند و در آن زمان به دلیل ثروت و قدرت بابل، این ایزد قدرتمند ترین ایزدان بین النهرین بود. باستان شناسان احتمال می دهند که پس از فتح بابل، کورش، در ادامه سیاست رواداری فرهنگی و مذهبی خود، به کاهنان بابلی اجازه داد که نیایش گاه خود را در تخت جمشید، که مرکز سیاسی هخامنشیان بود، بناکنند و عده ای از هنرمندان و معماران بابلی را برای بنای معبد پرستش مردوک به تخت جمشید آورد-Summary statement: When Cyrus the Great (r. 559-530 BCE) conquered Babylon in 539 BCE … historians surmise that in the continuation of his policy of religious and cultural tolerance, Cyrus allowed Babylonian artisans/craftsmen to build a worship center for their God Marduk at Persepolis.

Wailing-WallThe West Wall in Jerusalem. After his conquest of Babylon, Cyrus allowed the Jewish captives to return to Israel and rebuild the Hebrew temple. It is believed that approximately 40,000 did permanently return to Israel. For more see here…

This astonishing find is yet another indication of the policy of religious and cultural tolerance practiced by the Achaemenid Empire till its final days before the invasions of Alexander (356-323 BCE).

tomb-of-cyrus-the-great-at-pasargardaeThe Tomb of Cyrus the Great at Pasargadae  where Alexander paid his respects. The tomb is a UNESCO World Heritage site.

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پیش برای شناسایی شهر پارسه، در پاسارگاد به حفاری های باستان شناسی در اطراف تخت جمشید دست زده بودند موفق به کشف بنایی منحصر به فرد از دوران کورش هخامنشی شدند. به گزارش خبرگزاری میراث فرهنگی این هیئت در جریان کاوش های خود در سه سال پیش به تلی آجری برخوردند و حفاری در آن را آغاز کردند.

تل آجری در واقع بنای باستانی بزرگی ست بازمانده از دوران هخامنشیان که در سومین دوره کاوش های باستان شناسی این هیئت در نزدیکی تخت جمشید کشف شده است. علیرضا عسگری چاووشی، استاد دانشگاه شیراز و رئیس ایرانی هیئت کاوش در تل آجری به خبرگزاری میراث فرهنگی گفته است این بنا از خشت و آجر است که خشت ها در داخل دیوارها و آجرهای لعاب دار در نمای خارجی دیوار ها به کار رفته اند و آجرها با لعاب ها و نقش های حیوانات افسانه ای تزئین شده اند. به گفته آقای عسگری «این بنای شگفت انگیز حداقل ۳۳ در ۳۳ متر است و در ساخت آن هزاران آجر لعاب دار به کار رفته است». او ضخامت دیوارهای این بنا را ۱۰ متر اعلام کرده و گفته است:« کشف چنین بنایی با این عظمت، حجم و تعداد آجرهای لعاب دار در منطقه فارس بی نظیر است». به گفته او در این بنا کتیبه ای به خط میخی اکدی بابلی نیز به دست آمده است.

به گفته آقای عسگری آجرهای لعاب دار این بنا دارای نقش هایی از اسطوره های ایران باستان و بین النهرین باستان است به طوری که حتی قالب هایی که برای تزئین نقش ها بر آجرها به کار رفته اند با قالب و نقش هایی که برآجرهای لعابدار دروازه معبد ایشتار در بابل به کار رفته یک سان است. شواهدی ازوجود نقش موشخوشو، نماد ایزد مردوک، گل های لوتوس شانزده پر، و روش ها و فنون تزئین آجرها، رنگ ها و نقش ها و استفاده از قیر برای محافظت آجرها، همه حکایت از آن دارند که این بنا در دوره کورش هخامنشی ساخته شده است. نماد ایزد مردوک و دیگر نقش های این بنا بعد از کورش دیگر در هنر هخامنشی دیده نشده است.

رئیس گروه ایرانی هیئت باستان شناسان می گوید در زمانی که کورش در سال۵۳۹ پیش از میلاد بابل را فتح کرد، کاهنان بابلی ایزد مردوک را به عنوان بزرگ -ایزد آسمان ها و زمین می پرستیدند و در آن زمان به دلیل ثروت و قدرت بابل، این ایزد قدرتمند ترین ایزدان بین النهرین بود. باستان شناسان احتمال می دهند که پس از فتح بابل، کورش، در ادامه سیاست رواداری فرهنگی و مذهبی خود، به کاهنان بابلی اجازه داد که نیایش گاه خود را در تخت جمشید، که مرکز سیاسی هخامنشیان بود، بناکنند و عده ای از هنرمندان و معماران بابلی را برای بنای معبد پرستش مردوک به تخت جمشید آورد.

به نظر باستان شناسان این بنای مذهبی پس از کورش در دوران داریوش اول نیز تحمل می شده اما در دوران خشایارشا و با تمرکز شاهان هخامنشی بر پرستش ایزد اهورمزدا رفته رفته رو به تعطیل گذاشته و پس از هخامنشیان تخریب و غارت شده است. هرچند که هنوز به سبب وجود نکته های مبهم و ناشناخته فراوان ابراز هر گونه نظرگاه قاطع درباره سرگذشت این بنارا زود می دانند.

 

به گفته کارشناسان چاله هایی که در میان دیوار ها و در داخل عمارت وجود دارد حکایت از حفاری های پی درپی به منظور سرقت آجرها دارد. تا جایی که بخش عمده ای از آجرها مفقود و غارت شده اند.

 

به نوشته میراث فرهنگی، سرپرستی تیم باستان شناسان ایتالیایی برعهده پیر فرانچسکو کالیری از دانشگاه بولونیاست. این کاوش ها بخشی از پژوهش های باستان شناسی شهر پارسه است که با همکاری مشترک پژوهشگاه باستان شناسی، پژوهشکده باستان شناسی سازمان میراث فرهنگی، بنیاد پژوهشی پارسه پاسارگاد، سازمان میراث فرهنگی فارس و دانشگاه بولونیای ایتالیا انجام می شود.