A new look at the continuation of the concept of the fight between the king and the lion from the Achaemenid period to the Sassanid era

The political-religious art of Iran's historical period, which includes the period of the Achaemenid to the Sasanian rule, represents ideological and political ideas. During this relatively long period, stone reliefs were always considered as manifestations of the official-court art and the thought board of the ruling king. The fighting scene with the lion on reliefs has been among the examples of official art from the Achaemenid to Sassanid period, which has continued for thousands of years due to religious and political reasons. The aim of the present research is to examine the scene of the fight between the king and the lion in five historical places, including Persepolis from the Achaemenid period, Tang-e Sarvak and Kal Jangal Birjand from the Parthian era, and Sarmashhad, as well as Darabgerd Fars from the Sassanid era. This research has tried to answer such questions that how can the continuation of the use of the scene of the fight between the king and the lion from the Achaemenid period to the Parthian and Sasanian eras be explained? What has been the impact of the ideological contexts and thoughts of political governance on the continuation of this theme, especially in the Parthian and Sassanid eras? The result is that the lion fight scene is independent of the entertainment and real functions that are considered for it; It has been a medium for expressing the political and ideological thoughts of the ruling king or kings, in order to represent the acquisition of political-religious legitimacy to sit on the king's throne and also to ensure its durability through the acquisition of Devine Glory through the presentation of such a theme in reliefs as an official art; while fighting the lion.The political-religious art of Iran's historical period, which includes the period of the Achaemenid to the Sasanian rule, represents ideological and political ideas. During this relatively long period, stone reliefs were always considered as manifestations of the official-court art and the thought board of the ruling king. The fighting scene with the lion on reliefs has been among the examples of official art from the Achaemenid to Sassanid period, which has continued for thousands of years due to religious and political reasons. The aim of the present research is to examine the scene of the fight between the king and the lion in five historical places, including Persepolis from the Achaemenid period, Tang-e Sarvak and Kal Jangal Birjand from the Parthian era, and Sarmashhad, as well as Darabgerd Fars from the Sassanid era. This research has tried to answer such questions that how can the continuation of the use of the scene of the fight between the king and the lion from the Achaemenid period to the Parthian and Sasanian eras be explained? What has been the impact of the ideological contexts and thoughts of political governance on the continuation of this theme, especially in the Parthian and Sassanid eras? The result is that the lion fight scene is independent of the entertainment and real functions that