The Carian stonecutters are mentioned on the Treasury Tablets under Xerxes (Cameron, no. 158 ff., 170 ff.), whose function is not specified. The Persepolis tablets mention among the numerous foreign workers ( kurtaš) a few dozen Lycians (Uchitel) and Ionians (Hallock, index, s.v. This Oriental influence continued in Greece even during the Achaemenian period and is manifested by booties, importations, and purchases, as well as by products imitating or adapting Persian art, such as jewelry, arms, ceramic forms, themes of paintings on pottery or sculptural details, even architectural features such as hypostyle rooms (Miller, pp. The Greek archaic art that penetrated into the Persian Empire derived its own evolution, iconography, and style from the 7th-century B.C.E. Hence the part played by Asia Minor is less directly perceptible at these places than at Pasargadae. With the reign of Darius the Great, greater and more diversified contributions were made by the countries of his own empire towards the building and decoration of Persepolis and Susa (DSf 30 ff.
The long colonnaded porticoes, a Persian creation, were inspired by the 6th-century Ionian stoa, though of a quite different function, or Ionic dipteral temples (Nylander, 1970, pp. To all the known monuments of Pasargadae, Ionian artisans contributed the techniques of stonework, such as the ornamentation of a platform with bosses, or occasional architectural forms such as tori with horizontal flutings, or profiles like the molding of Cyrus’s tomb or the drapings of sculpted figures (Nylander, 1966 idem, 1970, pp. These were soon joined by Mesopotamians, Phoenicians, and later by Egyptians, destined to carry out the imperial program as an image of the king’s power over a diversified and peaceful empire. Soon after his conquest of Lydia and the Ionian cities in 547 B.C.E., Cyrus the Great decided to have their artists and artisans work at Pasargadae, his capital. After Alexander, more or less faithful local imitations of Greek forms and subjects were also produced, responding to the demands of Greco-Macedonians settled in Persia and their descendants, and especially the more or less Hellenized local elites.Īchaemenian period. The influx of elements of Greek art into Persia during the Achaemenid period was primarily the result of the importation of artists and artisans from Hellenized Asia Minor and rarely due to a direct supply of objects.
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