Pazyryk Carpet
is the oldest known surviving pile-woven carpet in the world, dating back to the 5th century BC. This 1.8 x 2 meters carpet was discovered in 1949 in a frozen burial mound in the Pazyryk Valley of the Altai Mountains in Siberia.
Scholars associate the Pazyryk Carpet with the Saka (Scythian people), nomadic Iranian-speaking tribes of the Eurasian Steppe, who were culturally influenced by the Achaemenid Persians.
The motifs including mythical animals, horses, and elaborate borders reflect the religious beliefs, shamanic practices, and nomadic lifestyle of a Saka decorated with Aryan nationalistic symbol in center, Derafsh Kavian.
Hermitage Museum, Saint Petersburg
is the oldest known surviving pile-woven carpet in the world, dating back to the 5th century BC. This 1.8 x 2 meters carpet was discovered in 1949 in a frozen burial mound in the Pazyryk Valley of the Altai Mountains in Siberia.
Scholars associate the Pazyryk Carpet with the Saka (Scythian people), nomadic Iranian-speaking tribes of the Eurasian Steppe, who were culturally influenced by the Achaemenid Persians.
The motifs including mythical animals, horses, and elaborate borders reflect the religious beliefs, shamanic practices, and nomadic lifestyle of a Saka decorated with Aryan nationalistic symbol in center, Derafsh Kavian.
Hermitage Museum, Saint Petersburg
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Bust of a Sassanid king, most likely Shapur the great from the mid-Sasanian period (3rd–4th century CE), carved from lapis lazuli.
The crown, hairstyle, and beard are typical royal iconography of the Sasanian dynasty, usually reserved for kings or high nobility and crescent and orb on the crown is a common majestic symbol in Sassanid art.
Reza Abbasi Museum, Tehran
The crown, hairstyle, and beard are typical royal iconography of the Sasanian dynasty, usually reserved for kings or high nobility and crescent and orb on the crown is a common majestic symbol in Sassanid art.
Reza Abbasi Museum, Tehran
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Parthian or early Sassanid era goldsmithing (Silver with gold inlays) Rhyton (c. 224 BCE- 250 CE).
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Bahdinan Gate at Amedi Citadel. Iraq, 13th century.
The Bahdinan dynasty was an Iranian (Kurdish) principality that emerged in the 12th century and lasted until the early 19th century.
The term “Bahdinan” itself likely originates from the Persian words “Bêhdîn” (بەهدین) or “Bahdîn”, which means “the land of the faithful”.
The Bahdinan dynasty was an Iranian (Kurdish) principality that emerged in the 12th century and lasted until the early 19th century.
The term “Bahdinan” itself likely originates from the Persian words “Bêhdîn” (بەهدین) or “Bahdîn”, which means “the land of the faithful”.
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Ancient figure, known as the "Oxus Lady", attributed to the Oxus culture of ancient Eastern Iran ca. 2200_1800 BC.
It is made of chlorite, limestone, and lapis lazuli and depicts what appears to be a female figure combined with a bird body.
Part of a private collection in the UK
It is made of chlorite, limestone, and lapis lazuli and depicts what appears to be a female figure combined with a bird body.
Part of a private collection in the UK
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The Khwarazmian fresco from Kazakly-Yatkan, an ancient fortress known as Akcha-Khan Kala (now in modern Uzbekistan), wrought in the 4th_3th century BCE.
This fresco is an important artifact from Khwarazm, an ancient region located near the lower Amu Darya (Oxus) River, which played a significant role in Iranian (Aryan) history.
This fresco is an important artifact from Khwarazm, an ancient region located near the lower Amu Darya (Oxus) River, which played a significant role in Iranian (Aryan) history.
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Late Sassanian amphora, discovered at a Buddhist monastery in Merv, depicts a vivid banquet scene that provides a glimpse into the elegance and opulence of noble life in ancient Iran.
National museum of Turkmenistan
National museum of Turkmenistan
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Silk tunic from the Sasanian period featuring mythical Aryan bird bearing the divine glory (Far-e Izadi), crafted from pearl in its beak.
Woven around 600 AD, discovered in northeastern Iran, region of Khorasan.
Modern tunics and long shirts closely resemble this Sasanian garment, which has a distinctive T-shaped construction made from a single piece of cloth forming the front and back panels, with openings for the arms and head.
This simple yet functional design allowed freedom of movement while displaying elaborate woven patterns—an approach that later influenced the Islamic and Byzantine garments. Several similar examples are preserved in the Hermitage Museum.
Museum of Islamic Art, Qatar
Woven around 600 AD, discovered in northeastern Iran, region of Khorasan.
Modern tunics and long shirts closely resemble this Sasanian garment, which has a distinctive T-shaped construction made from a single piece of cloth forming the front and back panels, with openings for the arms and head.
This simple yet functional design allowed freedom of movement while displaying elaborate woven patterns—an approach that later influenced the Islamic and Byzantine garments. Several similar examples are preserved in the Hermitage Museum.
Museum of Islamic Art, Qatar
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It was the day when dawn rose gently over the mighty walls of Babylon, a city that for centuries had stood undefeated, proud, and radiant beneath the sun.
Its towers pierced the heavens, and its bronze gates had defied countless kings who dreamed of breaking them.
The people, proud of their great city yet uncertain of what awaited them, watched from the rooftops as the majestic army approached the horizon.
They had seen what conquest meant, flames devouring homes, soldiers claiming lives, the cries of children fading beneath the sound of victory drums.
But this time, there was no fire, no screams, no looting, only the calm rhythm of footsteps upon the stones.
Soldiers came not to enslave, but to bring peace.
At their head rode a man whose eyes saw beyond power — a man who sought not to destroy empires, but to unite hearts.
The father stopped before the gates, looked upon the city that no conqueror had ever tamed, and said calm and gently:
“Walk softly in Babylon, so that no harm comes to its people.”
Its towers pierced the heavens, and its bronze gates had defied countless kings who dreamed of breaking them.
The people, proud of their great city yet uncertain of what awaited them, watched from the rooftops as the majestic army approached the horizon.
They had seen what conquest meant, flames devouring homes, soldiers claiming lives, the cries of children fading beneath the sound of victory drums.
But this time, there was no fire, no screams, no looting, only the calm rhythm of footsteps upon the stones.
Soldiers came not to enslave, but to bring peace.
At their head rode a man whose eyes saw beyond power — a man who sought not to destroy empires, but to unite hearts.
The father stopped before the gates, looked upon the city that no conqueror had ever tamed, and said calm and gently:
“Walk softly in Babylon, so that no harm comes to its people.”
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Sassanid silver ring with a red agate seal. On the seal, man's head with beard and long hair is engraved.
State Museum in Berlin, Germany
State Museum in Berlin, Germany
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