America, the prequel?

The Achaemenid Empire, renowned for its architectural and cultural grandeur, was distinguished by its five principal capitals. Our focal point in this discussion will be Persepolis, a city that stands out as particularly noteworthy among these centers. The other four capitals, each with its own unique significance and role within the empire, included Babylon, Ecbatana, Susa, and Pasargadae. The inception of the Achaemenid rule can be traced back to their initial subordination to the Median Empire within the Near East. However, a pivotal transformation occurred when Cyrus the Great, also known as Cyrus II, successfully overthrew Median dominion, thereby establishing his own dynasty. Cyrus II carried forth the legacy of leadership as a third-generation monarch, ascending after his father Cambyses I and building upon the foundation laid by his grandfather Cyrus I (Morris and Scheidel 2009, 66-68).

Established in 550 BCE, the Achaemenid Empire's inception disrupted the equilibrium in the Near East. Nevertheless, it soon emerged as an immense crucible of cultural diversity. Before ascending to the throne in 522 BCE, Darius held considerable political power and had co-conspirators who assisted him in his efforts. He accused King Cambyses of murdering his brother Smerdis and replacing him with a look-alike magi named Guamata. Following the death of the King and removal of Smerdis, Darius campaigned throughout the empire, gaining influence in the Aegean islands, Egypt, and Central Asia (Cary 1904, 183). His unsubstantiated claims against the "Liar-Kings" and his assertion of being a descendant of the late Achaemenes, aided in his expansion and unification of the empire (Morris and Scheidel 2009, 72).

To fully comprehend the significance of the remarkable diversity found in Persepolis, it is essential to delve into the equally vibrant history surrounding its construction. Several ancient monuments within Persepolis have withstood time's test and allow us the privilege to see into the past. That isn’t to say history hasn’t made any attempt. The construction of Persepolis, which began in 518 BCE, lasted throughout the empire's existence. Over the span of two centuries, successive generations of Darius' lineage contributed to the expansion and enhancement of the Terrace. The empire's architecture and artistic ventures were heavily influenced by the assimilation of diverse cultures from the realms it conquered. The storied city met its demise in 330 BCE, razed by Alexander the Great. The destruction of Persepolis was an act with deep symbolism intended to ruin the connection between the monarch and his subjects. The remnants of the Terrace's friezes provide evidence of this bond. Additionally, through the surviving archeological record it has also been inferred that the construction took place over five major phases.

The inaugural phase (522-486), led by Darius, involved designing the terrace and building the Treasury. Under the Apadana can be found inscriptions in three languages spoken at the time. The text can be found written in Old Persian, Elamite, and Babylonian. It is believed to have been scribed here prior to its construction due to the lack of any mention of lands in the Empire.

The second phase of Persepolis' construction, undertaken significantly by Xerxes from 486 to 465 BCE, marked great progress. During this phase, the Central Palace was completed, while work commenced on the Apadana and the Gate of All Nations. Throughout these areas, designated as public ceremonial spaces, relief sculptures celebrating the conquests and achievements of the empire can still be found today.

The Empire, at its peak, extended its reach as far as modern-day northern Greece and Egypt, stretching to the borders of India, showcasing the vast expanse of its dominion. In front of the Central Palace, one is met with towering columns that exemplify the assimilation of diverse cultures within The Achaemenid Empire. These columns feature composite capitals, featuring both corinthian and ionic elements. Additionally they are embellished with floral motifs and flanked by imposing bulls on each side.

As the construction advanced to its third phase, significant progress was made on several structures. The Palace of Xerxes, the Gate of All Nations, and the Harem Complex were completed, while work commenced on the 100 Column Hall and additional palaces. The Gate of All Nations, also known as the Gate of Xerxes, along with its entrance, the Grand Staircase, were constructed during this phase. The most striking feature of the gate, which endures to this day, is the impressive Assyrian-inspired sculptures that adorn both sides of the doorway. It is noteworthy that these sculptures, unlike the original Lamassu, have four legs instead of the traditional five, showcasing a distinctive variation in their design (Soheil 2019, 34).

The fourth phase marked the completion of the 100 Column Hall and Palace H. The enumerated hall has also been referred to as the Throne hall, named for the relief of the King held up by guards that can be found inside the doorway. The inscriptions found here, in Babylonian, give insight to when the hall was built. Inlaid within a stone slab it indicates, “Of this palace, my father King Xerxes laid the foundations; with the protection of Ahuramazda, I, King Artaxerxes, built it and realized it.”(Soheil 2019, 52). Additionally, the Throne hall's South wall displays artwork similar in style to the relief of the King on the North wall. While the figures on the North wall face the portico, those on the South wall face the interior of the hall.

Furthermore, the four doorways on the east and west sides depict artwork symbolizing the King's power. These doorways showcase the King slaying a lion, a lion-monster, a griffon, and a bull.

Unfortunately, the arrival of Alexander the Great's conquering army brought an abrupt end to the final construction phase, halting any further progress. Along with historical records, there is evidence of scorching on various stones (Soheil 2019, 30-40).

In conclusion, examining the ruins of Persepolis offers a captivating glimpse into our ancient past. What's particularly intriguing are the striking parallels that can be drawn to the present day. Throughout history, the amalgamation of diverse cultural styles in art and architecture has been a catalyst for growth and expansion. This fusion of influences has allowed cultures to transcend their limitations and evolve in ways beyond imagination. The Greco-Roman inspiration of the columns seen throughout Persepolis is not unlike Thomas Jefferson's insistence on designing the U.S. capitol buildings with the Parthenon in mind.(Wilson, n.d.) At their core, these architectural elements were meant to embody something far greater than what is tangible.

References

• Bahadur, Tulika. 2016. “The Gate of All Nations – On Art and Aesthetics.” On Art and Aesthetics. https://onartandaesthetics.com/2016/07/10/the-gate-of-all-nations/.
• Cary, Henry. 1904. The Histories of Herodotus. N.p.: New York D. Appleton and Company.
• Curatola, Giovanni, and Gianroberto Scarcia. 2007. The Art and Architecture of Persia. Translated by Marguerite Shore. N.p.: Abbeville Press.
• Jones, Owen. 2016. The Grammar of Ornament: A Visual Reference of Form and Colour in Architecture and the Decorative Arts - The Complete and Unabridged Full-color Edition. N.p.: Princeton University Press.
• Morris, Ian, and Walter Scheidel, eds. 2009. The Dynamics of Ancient Empires: State Power from Assyria to Byzantium. N.p.: Oxford University Press, USA.
• Samiei, Sasan. 2014. Ancient Persia in Western History: Hellenism and the Representation of the Achaemenid Empire. N.p.: Tauris.
• Soheil, Mehr A. 2019. The Concept of Monument in Achaemenid Empire. N.p.: Taylor & Francis Group.
• Wilson, Richard G. n.d. “Jefferson, Thomas and Architecture.” Encyclopedia Virginia. Accessed December 13, 2023. https://encyclopediavirginia.org/entries/jefferson-thomas-and-architecture/.