Study of Iconography of Achaemenid wall paintings in the tombs of Tatarly

The Achaemenid Empire's Shah's road started from Susa and ended up in Sarda in Asia Minor. Clynay was one of the great cities of Frigate, located in Asia Minor, which became very important due to its location on the path of the Shah's road during the Achaemenid period. The most important finds in the Claynea area are the tombstone located in the Tatarli near the Dinar at the border between Lydia and Frigate.The tomb has paintings on wooden beams, which represent the largest painting on the wood of the ancient period and dates back to the middle of the 5th century BC. The purpose of this article is to identify the specific character of Tatarli's tomb paintings and the relation between Anatolian and Iranian figurative traditions, which was carried out through cultural relations between Anatolia and Iran during the Achaemenid period. The research uses descriptive-comparative method and by documentary method to study the tomb paintings and the effect of Achaemenid art style in it. In the typography of memorial buildings at the center of the Achaemenid empire, warriors of the cavalry were in no way prevalent. In the Apadana staircase we see empty hinges and horses without riders. There, the spear of the infantry and the arc of the shah symbolized the power of the Iranian army. But in the works of Achaemenid Empire and the example of the Tartarite tomb painting, we are witnessing the presence of a great warfare scene with infantry and cavalry with the characteristics of Persian weapons and clothing. On the paintings of these walls, especially the figures drawn from the eastern walls, the clothing and identity of the chosen Anatolian choir has been taken from the Achaemenid cloak.In the scene of Tatarli's controversy, unlike the scene of the Tricker Palace, a monumental crown, the battle scene of the Royal Pahlavan in the seals, has continued with signs of reign, such as the crown and the garment of Shahi. This difference in shape can be attributed to different audiences. this difference was due to the ideology of kings' power. The dead body of the enemy is under the feet of the king in the Tatarli painting of Iranian traditions which is also featured in Bisotun; this scene is a combination of the scene of Bishtun Darius and the Royal Pahlavan in the battle of the Dariush Tucker Palace, and likely this role of Dariush in It's a battle with a sectarian enemy.The images depicted on wooden walls of the Tatarli monastery are the most well-known type of painting on the wood in ancient Mediterranean. In Tatarli's tomb, according to the ancient tradition of Frygiyeh, in the building of the Tomb of the wood used, then the wooden beams are decorated with images from the cultural backgrounds of the Persian rulers, which indicate the cultural interpenetration between Frygiy and the Iranian rulers. This shows that adapted images of Achaemenid and Greek art based on their needs and It represented the diversity of nationalities throughout the Achaemenid dynasty.