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Persia Map Sterling Silver 925 Achaemenian Takht-e Jamshid Persepolis composite figure for King Necklace
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  • Persia Map Sterling Silver 925 Achaemenian Takht-e Jamshid Persepolis composite figure for King Necklace
  • Persia Map Sterling Silver 925 Achaemenian Takht-e Jamshid Persepolis composite figure for King Necklace

Persia Map Sterling Silver 925 Achaemenian Takht-e Jamshid Persepolis composite figure for King Necklace

$59.40

Iran Persia Map Sterling Silver 925 with Achaemenian Empire Takht-e Jamshid Persepolis composite figure of winged bull-lion-raven-scorpion ( refering to King ) inside Necklace Pendant

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Sizes:  40 mm x 30 mm

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Weight:  10.5 grams

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Persepolis means Persian City and is situated 58 Kilometers from Shiraz. Persepolis was developed mainly by Dariush I The Great (~500 B.C.) and turned to a modern city with running tab water, drainage system, postal service and highways connecting it to other cities of the Persian empire.

 

Entering the palace one passes a door with royal guards and comes into a small guard room. The next door leads into the main hall of the palace, with an image of the king preventing "evil" from entering. The different doors show different representations of the same theme, which arc repeated in the Hundred Column Palace and the Museum. The "evil" is either shown as a bull-monster being killed by the king, or a composite figure of a winged bull-lion-raven-scorpion. The position of the king and beast are of significance and indicate the use of the rooms. It can also be argued that the "monsters" with which the king contends are really constellations and relate astrologically to dates on which the rooms were used. The door of the royal bath, to the left, shows the king coming cleaned and properly dressed for the ceremony, followed by two servants, one a eunuch with umbrella and flywhisk. The holes of the King's coat indicate the anchor points of precious metal objects. The king undoubtedly wore a crown, armlets and anklets. The beard was inlaid with precious or semi-precious stones; so were the eyes. The pattern of the cloth is still recognizable and should be compared with the colored tile on the museum wall. Flower motives are apparent. The lower seam of the coat shows a frieze of lions. The scratchmarks were only lightly put on, as trace, to facilitate the application of paint, or to aid the adhesion of gold foil.