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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Another silver ring, from the Sassanid era, with amethyst engraved seal gem portraying Sassanid governor. used as a local stamp seal.
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Onyx ring bezel, engraved with standing figure of Sassanid king Bahram IV wearing his characteristic crown, long apron-style shirt and baggy trousers.
His right hand rests on the hilt of a straight sword. His left holds a sceptre with pointed spear-like butt. Beneath his feet is the figure of a fallen Roman governor, referring to his triumph against Rome.
British museum
His right hand rests on the hilt of a straight sword. His left holds a sceptre with pointed spear-like butt. Beneath his feet is the figure of a fallen Roman governor, referring to his triumph against Rome.
British museum
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