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Following unsuccessful attempts to keep the descendants of Nebuchadnezzar II on the throne, the usurper Nabonidus became king. Persian tribes had moved into Elamite lands, and the Medes made Harran a dangerous city; Nabonidus‘ mother, an aged acolyte of Ashurbanipal, resided there. His lengthy inscriptions are informative about his deeds and his character. He dedicated his daughter to the Moon-god at Ur according to precedent, and spent ten years in Arabia, leaving his son Belshazzar in charge in Babylon. He returned and restored the temple in Harran. Cyrus the Great brought his rule to an end, but continued to employ some high officials. Cyrus was probably of mixed Elamite and Persian descent. The Cyrus Cylinder, inscribed in Babylonian cuneiform for a Babylonian audience, used traditional denigration of the previous king Nabonidus, and acknowledged Marduk as Babylon’s god. In another cuneiform text, Nabonidus was mocked for his scholarly pretensions and for sacrilegious acts. Babylon continued to be the centre where all subsequent kings felt obliged to celebrate the New Year festival to be accepted as legitimate rulers. Old monuments were not defaced. Cyrus may have been responsible for an imitation of Babylon’s glazed bricks at Persepolis. He made his son Cambyses co-regent.
Pasargadae, the capital of Cyrus the Great, is the earliest known significant settlement of the Persians, a people who rose from obscurity to far-flung dominion in the short span of two decades. Weathered and scarred by time, the tomb of Cyrus remains the focus of all else at Pasargadae. For the first time in Iran a reception hall acquired an open, four-sided appearance. The Pasargadae palaces represent bold, innovative structures that Cyrus used to signal both the new ideas and resources that had become available to him and the new sense of security that went with his unrivalled power and prestige. Gardens were essential to the character of Pasargadae. To the north of the Palace Area stands the isolated stone tower known locally as Zindan-i Sulaiman or "The Prison of Solomon". The extreme northern limit of Pasargadae is marked by two isolated stone plinths.
The Behistun relief is the earliest known work of art which can be securely dated in the reign of Darius the Great. The relief represents Darius triumphant over his enemies; he holds a bow in his left hand and stands with one foot on the fallen figure of Gaumata, the first rebel, who raises his arms in a pleading gesture toward Darius. The style of the Behistun relief is simpler than the later art of Darius and appears to unite conventions found in Cyrus' sculptures at Pasargadae with traits characteristic of Assyrian art. In the time of Darius, the characteristic Persian robe is shown, in summary fashion, on the Behistun relief, and in a more developed manner in the art of Susa and Persepolis. Professor Porada has already suggested that the royal figures on the Treasury reliefs wore gold crowns, since representations of Darius and subsequent kings were adorned with gold crowns and jewellery.
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