Ziggurat: the image of the ancient sky - On Red Square. What is a ziggurat? Decoration of ziggurats

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ZIGGURAT

temple tower, belonging to the main temples of the Babylonian and Assyrian civilizations. The name comes from the Babylonian word sigguratu - peak, including the top of a mountain.

The first such towers in the form of primitive stepped terraces appeared in the alluvial valleys of the Tigris and Euphrates at the end of the 4th millennium BC. The last noticeable surge in activity in the construction of Mesopotamian ziggurats is attested already in the 6th century. BC, at the end of the Neo-Babylonian period. Throughout ancient history, ziggurats were renovated and rebuilt, becoming a source of pride for kings.

As the name implies, the ziggurat was an artificial hill, designed as an imitation of one of those sanctuaries that the Sumerians were forcibly deprived of when they moved from their mountainous ancestral home to the plains of Mesopotamia. The ziggurat was a massive structure with sloping walls, completely monolithic except for drainage channels and a small temple at the top. Its dimensions were enormous; the famous Babylonian ziggurat was more than 90 m high, the length of each side of the square base was also more than 90 m. The base of the structure was built from clay or clay bricks, additionally reinforced with layers of reed or asphalt; outside it was surrounded by a thick wall of baked bricks. The ziggurats had a square or rectangular plan, and their only decoration were high and narrow niches located at regular intervals. Abandoning the single-terrace design typical of earlier structures, the kings of the Third Dynasty of Ur (c. 2250 BC) introduced a new tradition of building ziggurats from several terraces, placed one above the other and successively decreasing in size. They could be reached by stairs, one of which was located frontally, and the rest along the side walls. The structure as a whole was intended to symbolize the Universe, and the terraces were painted in different colors, respectively indicating the underground world, the visible world of living beings and the heavenly world. The summit temple, symbolizing the sky, was painted dazzling white in Uruk, and inlaid with glazed blue brick in Babylon and Ur.

Collier. Collier's Dictionary. 2012

Architecture and purpose

A ziggurat is a tower of parallelepipeds or truncated pyramids stacked on top of each other, from 3 for the Sumerians to 7 for the Babylonians, who did not have an interior (with the exception of the upper volume in which the sanctuary was located). The ziggurat's terraces, painted in different colors, were connected by stairs or ramps, and the walls were divided by rectangular niches. Inside the walls supporting platforms (parallelepipeds) there were many rooms where priests and temple workers lived.

Next to the stepped ziggurat tower there was usually a temple, which was not a prayer building as such, but the dwelling of a god. The Sumerians, and after them the Assyrians and Babylonians, worshiped their gods on the tops of the mountains and, preserving this tradition after moving to the lowlands of Mesopotamia, erected mound mountains that connected heaven and earth. The material for the construction of ziggurats was raw brick, additionally reinforced with layers of reeds, and the outside was lined with baked bricks. Rains and winds destroyed these structures, they were periodically renovated and restored, so over time they became taller and larger in size, and their design also changed. The Sumerians built them in three stages in honor of the supreme trinity of their pantheon - the god of air Enlil, the god of water Enki and the god of sky Anu. The Babylonian ziggurats were already seven-tiered and painted in the symbolic colors of the planets (five planets were known in ancient Babylon): black (Saturn, Ninurta), white (Mercury, Nabu), purple (Venus, Ishtar), blue (Jupiter, Marduk), bright -red (Mars, Nergal), silver (Moon, Sin) and gold (Sun, Shamash).

In the later period, the ziggurat was not so much a temple structure as an administrative center where the administration and archives were located.

The prototype of the ziggurat were stepped temples. The first such towers in the form of primitive stepped terraces appeared in the alluvial valleys of the Tigris and Euphrates at the end of the 4th millennium BC. e. The last noticeable surge in activity in the construction of Mesopotamian ziggurats is attested already in the 6th century BC. e., at the end of the Neo-Babylonian period. Throughout ancient history, ziggurats were renovated and rebuilt, becoming a source of pride for kings.

A number of biblical scholars trace the connection between the legend of the Tower of Babel and the construction of high tower-temples called ziggurats in Mesopotamia.

Ziggurats survived in Iraq (in the ancient cities of Borsippa, Babylon, Dur-Sharrukin, all - 1st millennium BC) and Iran (in the site of Chogha-Zanbil, 2nd millennium BC).

Sources

B. Bayer, W. Birstein and others. History of mankind 2002 ISBN 5-17-012785-5

Wikimedia Foundation. 2010.

Synonyms:

See what "Ziggurat" is in other dictionaries:

- (Akkadian), in the architecture of Ancient Mesopotamia, a cult tiered tower. The ziggurats had 3 to 7 tiers in the form of truncated pyramids or parallelepipeds made of adobe brick, connected by stairs and gentle ramps. The most famous... ... Art encyclopedia

Ziggurat- Etemenanki in Babylon (the so-called Tower of Babel). Ser. 7th century BC. Reconstruction. ZIGGURAT (Akkadian), a cult tower in the architecture of Ancient Mesopotamia. The ziggurats had 3 to 7 tiers of mud brick, connected by stairs and ramps. ... Illustrated Encyclopedic Dictionary

ziggurat- >.n. Tower of Babel). Ser. 7th century BC. Reconstruction. /> Ziggurat of Etemenanki in Babylon (aka Tower of Babel). Ser. 7th century BC. Reconstruction. Ziggurat of Etemenanki in Babylon (aka Tower of Babel). Ser. 7th century BC. Reconstruction... ... Encyclopedic Dictionary of World History

Pyramid, temple, tower Dictionary of Russian synonyms. ziggurat noun, number of synonyms: 3 tower (45) pyramid ... Synonym dictionary

- (Akkadian) in architecture Dr. Mesopotamian cult tower. The ziggurats had 3 to 7 tiers of mud brick, connected by stairs and ramps... Big Encyclopedic Dictionary

In the architecture of Ancient Mesopotamia, a cult tower. The ziggurats had 3 to 7 tiers of mud brick, connected by stairs and ramps... Historical Dictionary

Stepped tower in Mesopotamian temple construction. Large explanatory dictionary of cultural studies.. Kononenko B.I.. 2003 ... Encyclopedia of Cultural Studies

ziggurat- A stepped structure without internal premises, forming the foot of the temple [Terminological dictionary of construction in 12 languages (VNIIIS Gosstroy USSR)] Topics architecture, basic concepts EN zigguratzikkurat DE Sikkurat FR ziggourat ... Technical Translator's Guide

Temple tower, belonging to the main temples of the Babylonian and Assyrian civilizations. The name comes from the Babylonian word sigguratu summit, including the top of a mountain. The first such towers in the form of primitive stepped terraces appeared in... ... Collier's Encyclopedia

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Satanic altar of VIL

One of the main results of the Russian March was the awareness by patriots of the situation in which we now live: Russia is occupied; occupation “constitution” filk’s charter, which can be formatted by any of the puppets sitting at the top with the stroke of a pen; The Russians have no army; there is no single national organization capable of returning power to the Russians; There are no special hopes for a quick victory either. The question arises: what to do?

Patriots try to answer it in different ways, often voicing someone else’s suggested words. Some organize a “prayer stand,” others gather a society of zealous persecutors of pederasty, others run around the city with a piece of rebar, others throw mayonnaise at someone, and others chase away liberal grandmothers who have lost their minds. The result of such activity is obvious. When we try to criticize her, they scold us, saying, let’s do at least something. What?

As the ancient Chinese wisely said, a journey of a thousand miles begins with one step.

The Russians are separated from OUR DAY not by a thousand, but by a much shorter distance, but this does not negate the need for the first step. Our the first step should be to remove the body from the ziggurat on Red Square. Below we will explain in detail the magical side of this action, which knocks out the occult foundation from under the existing regime in Russia, but first of all it is important to understand the practical essence of this step.

It begins with the fact that, having familiarized themselves with the proposed material, nationalists should begin preparing for the removal of the body, which should strive to be carried out in April, on the day when Blank (Ulyanov) appeared, or perhaps this should be done on the anniversary of the day the body was loaded into the ziggurat ( these are the reasons for the Russian Marches). In the course of preparation and implementation of the task, we, on the one hand, will unite nationalists around a clearly defined vector of action, which will become the basis for the future unified Russian national liberation organization, on the other hand, we will identify all the enemies of the Russian people who will definitely show themselves: either by starting protest against the removal of the body, or refuse to support this intention. Everything will become simple and clear and a wonderful logical formula: “Whoever is not with us is against us!” will once again demonstrate its revealing effectiveness. Well, if this power opposes the removal of the body, under any pretext, then so much the better for the struggle - its satanic basis will be clearly and mercilessly revealed. After all, the struggle is currently only for the minds and souls, for the insight of our people, and if we win it, then we have already won.

Ziggurat (ziggurat, ziggurat): in the architecture of Ancient Mesopotamia, a cult tiered tower. Ziggurats had 3-7 tiers in the form of truncated pyramids or parallelepipeds made of raw brick, connected by stairs and gentle slopes and ramps (Dictionary of architectural terms)

Bloody Square. She's wearing a Ziggurat.
It's finished. I am close. Well, I'm glad.
I descend into the fetid, terrible mouth.
It's easy to fall on slippery steps.
Here is the stinking heart of ancient evil,
It eats bodies and souls to the ground.
A hundred-year-old beast built its nest here.
The door to Rus' is open to demons here.
Nikolay Fedorov

The architectural ensemble of Red Square has evolved over centuries. Kings replaced each other. The walls of the citadel replaced each other - first wooden, then white stone, and finally brick, as we see them now. Fortress towers were erected and demolished. Houses were built and dismantled. Trees grew and were cut down. Defensive ditches were dug and filled. Water was supplied and discharged. A wide network of underground communications was laid and destroyed, one way or another affecting structures on the surface. The covering of this surface also changed, right up to the railway (trams ran until 1930). The result was what we see now: a red wall, towers with stars, huge pine trees, St. Basil's Cathedral, shopping arcades, the Historical Museum and... the ritual ziggurat tower in the very center of the square.

Even a person far from architecture involuntarily asks the question: why was it decided to build a structure near the Russian medieval fortress in the 20th century - an absolute copy of the top of the Pyramid of the Moon in Teotihuacan? The Athens Parthenon has been duplicated in the world at least twice; one of the copies stands in the city of Sochi, where it was built by order of Comrade Dzhugashvili. The Eiffel Tower has multiplied so much that its clones in one form or another are present in every country. There are even “Egyptian” pyramids in some parks. But to build a temple to Huitzilopochtli, the supreme and bloodiest deity of the Aztecs, in the very heart of Russia is simply an amazing idea! However, one could come to terms with the architectural tastes of the leaders of the Bolshevik revolution - well, they built it, and oh well. But what is striking about the ziggurat on Red Square is not its appearance. It is no secret to anyone that in the basement of the ziggurat lies a corpse embalmed according to some rules.

A mummy in the 20th century, and a mummy made by the hands of atheists is nonsense. Even when builders of parks and attractions build “Egyptian pyramids” somewhere, they are pyramids only externally: it never occurred to anyone to seal a freshly made “pharaoh” in them. How did the Bolsheviks come up with this? Unclear. It is not clear why the mummy has not yet been taken out, since the Bolsheviks themselves have already been taken out, as it were? It is not clear why the Russian Orthodox Church is silent, since the body, so to speak, is restless? Moreover: there are many other bodies built into the wall near the ziggurat, which for Christians is the height of blasphemy, the temple of Satan, by and large, because this is an ancient ritual of black magic - to embed people into the fortress walls (so that the fortress will stand for centuries)? And the stars above the towers are five-pointed! Pure Satanism, and Satanism at the state level like the Aztecs.

In this situation, every person who considers himself a clergyman in “multi-confessional” Russia must begin every morning with a prayer to his gods, calling for the urgent removal of the ziggurat from Red Square, because it is a temple of Satan, no more and no less! Russia, we are told, is a “multi-religious country”: there are also “Orthodox” here (meaning the false church of the Russian Orthodox Church MP editor's note), and Jehovah's Witnesses, and Muslims, and even gentlemen who call themselves rabbis. They are all silent: Ridiger, various mullahs, and Berl-Lazars. They are satisfied with the Temple of Satan on Red Square. At the same time, this whole company says that it serves one god. One gets the persistent impression that we know what this “god” is called; the main temple for him stands in the main place of the country. What and who needs more evidence?

From time to time, the public tries to remind the authorities that, they say, the construction of communism has been canceled for 15 years, therefore it would not hurt to take the main builder out of the ziggurat and bury it, or even burn it, scattering the ashes somewhere over the warm sea. The authorities explain: pensioners will protest. A strange explanation: when Comrade Dzhugashvili was taken out of the ziggurat, half the country was on ears, but nothing this did not greatly strain the authorities. Yes, and the Stalinists today are no longer what they were before: pensioners are silent, even when they are dying of hunger, when they once again raise prices for apartments, electricity, gas, transport and then suddenly everyone will come out and protest?

Dzhugashvili was taken out as: today they recognized that he was a criminal tomorrow they buried him. But for some reason the authorities are in no hurry to deal with Blank (Ulyanov) - they have been delaying the removal of the body for 15 years now. The stars were not removed from the Kremlin, although the “Museum of the Revolution” was renamed the “Historical Museum”. They did not remove the stars from their shoulder straps, although they removed political instructors from the army. Moreover: the stars were returned to the banners. The anthem has been returned. The words are different but the music is the same, as if it awakens in the listeners some kind of programmatic rhythm that is important for the authorities. And the mummy continues to lie. Is there really some occult meaning involved in all this, incomprehensible to the public? The authorities again explain: if you touch the mummy, the communists will organize actions. But on November 4th we saw an “action” of the communists - three grannies came. And four grannies came out with banners a couple of days later, on November 7th. Is the government really that afraid of them? Or maybe it's something else?

Today, a person who knows what magic is can clearly see the occult, mystical meaning of the structure on Red Square. Sometimes it is difficult to explain to others the whole drama of the experiment being performed on them; someone will not believe it, someone will twist their finger at their temple. However, modern science does not stand still, and what seemed like magic just yesterday, for example, human flight through the air or television, has today become the so-called objective reality. Many moments associated with the ziggurat on Red Square also became a reality.

Modern physics has studied a little electricity, light, corpuscular radiation, and there is talk about the existence of other waves and phenomena. And they are regularly discovered, for example, the Japanese scientist Masaru Emoto recently conducted an extensive study of the microstructure of water crystals, which has long been attributed to the presence of certain properties of an information carrier (and an amplifier of various radiations not detected by instruments). That is, some part of the knowledge considered occult has already become a purely physical fact.

Who, besides specialists, knows about the “mitogenic radiation” of Gurwitsch (Gurwitsch, discovered back in 1923 (partially its physical nature was established in 1954 by the Italians L. Colli and U. Faccini)? These and other persistent invisible waves emit dead or dying cells. Such waves kill has been proven in a number of experiments. Obviously, the reader assumes that we will now discuss the “radiations” emanating from the mummy and harming Muscovites? The reader is deeply mistaken: we will now talk about the history of Red Square. It is everything and will explain.

Red Square was not always Red. In the Middle Ages there were many wooden buildings that were constantly on fire. Naturally, over several centuries more than one person was burned alive at this place. At the end of the 15th century, Ivan III put an end to these disasters: the wooden buildings were demolished, forming Torg Square. But in 1571, the entire market burned down anyway, and again people burned alive - just as they would later burn in the Rossiya Hotel. And from then on the square began to be called “Fire”. For centuries it became the site of executions - ripping out nostrils, lashings, quarterings and boiling alive. The corpses were thrown into the fortress moat, where the bodies of some military leaders are now walled up. During the time of Ivan the Terrible, animals were even kept in the ditch and fed with these corpses. In 1812, during the capture of Moscow by Napoleon, it all burned down again. Even then, about a hundred thousand Muscovites died, and the corpses were also dragged into the fortress ditches; no one buried them in the winter.

From an occult point of view, after such a background, Red Square IS ALREADY a terrible place, and some sensitive people approaching the Kremlin for the first time well feel the oppressive atmosphere spread by its walls. From a physical point of view, the ground under Red Square is saturated with death, because the necrobiotic radiation discovered by Gurvich is extremely persistent. Thus, the very place for the ziggurat and burial of Soviet commanders already suggests certain thoughts

A ziggurat is a ritual architectural structure that tapers upward like a multi-stage pyramid, the same one that stands on Red Square. However, a ziggurat is not a pyramid, since it always has a small temple on top. The most famous of the ziggurats is the famous Tower of Babel. Judging by the remains of the foundation and records on surviving clay tablets, the Tower of Babel consisted of seven tiers resting on a square base with a side of about one hundred meters.

The top of the tower was designed in the form of a small temple with a ritual MARRIAGE BED as an altar the place where the king of the Babylonians entered into relations with the virgins brought to him the spouses of the god of the Babylonians: it was believed that at the moment of the act the deity entered into the king or priest performing the magical ceremony and impregnated a woman.

The height of the Tower of Babel did not exceed the width of the base, which we also see in the ziggurat on Red Square, that is, it is quite typical. Its contents are also quite typical: something resembling a temple at the top, and something mummified lying at the lowest level. That something that the Chaldeans used in Babylon later received the designation teraphim, that is, the opposite of seraphim.

It is difficult to explain well the essence of the concept of “teraphim” in brief, not to mention descriptions of the varieties of teraphim and the approximate principles of their work. To put it roughly, the teraphim is a kind of “sworn object”, a “collector” of magical, parapsychic energy, which, according to magicians, envelops the teraphim in layers, formed by special rites and ceremonies. These manipulations are called “creation of teraphim”, since it is impossible to “make” teraphim.

The clay tablets of Mesopotamia are not very decipherable, which gives rise to different interpretations of the signs recorded there, sometimes with very startling conclusions (for example, set out in the books of Zecharia Sitchin). In addition, the sequence of the “creation of the teraphim” that lay in the foundation of the Tower of Babel would not have been made public by any priest, even under torture. The only thing that the texts say and with which all translators agree is that the teraphim of Bel (the main god of the Babylonians, for communication with whom the tower was built) was a specially processed head of a red-haired man, sealed in a crystal dome. From time to time other heads were added to it.

By analogy with the making of teraphim in other cults (Voodoo and some religions of the Middle East), a gold plate, apparently rhombic in shape, with magical ritual signs was most likely placed inside the embalmed head (in the mouth or instead of the removed brain). It contained all the power of the teraphim, allowing its owner to interact with any metal on which certain signs or an image of the entire teraphim were drawn in one way or another: through the metal, the will of the owner of the teraphim seemed to flow through the metal into the person in contact with it: on pain of death By forcing his subjects to wear “diamonds” around their necks, the king of Babylon could, to one degree or another, control their owners.

Pickled head with hole
syphilitic freak VIL
still an object of worship for Russians

We cannot say that the head of the man lying in the ziggurat on Red Square is a teraphim, but the following facts attract attention:

there is at least a cavity in the mummy’s head for some reason the brain is still kept in the Brain Institute;
the head is covered with a surface made of special glass;
the head lies in the lowest tier of the ziggurat, although it would be more logical to put it somewhere up. The basement in all religious institutions is always used for contact with the creatures of the Pekla worlds;
images of the head (busts) were replicated throughout the USSR, including pioneer badges, where the head was placed in a fire, that is, captured during the classical magical procedure of communicating with Pekla demons;
Instead of shoulder straps, for some reason the USSR introduced “diamonds”, which were later replaced by “stars” - the same ones that burn on the Kremlin towers and which were used by the Babylonians in cult ceremonies of communication with Vil. “Ornaments” similar to diamonds and stars, imitating a gold plate inside the head under the tower, were also worn in Babylon; they are found in abundance during excavations;

In addition, in the magical practices of Voodoo and some religions of the Middle East, the process of “creating teraphim” is accompanied by ritual murder; the victim’s life force was supposed to flow into the teraphim. In some rituals, parts of the victim’s body are also used, for example, the victim’s head is walled up under a glass sarcophagus with a teraphim. We cannot say that something is also walled up under the head of the mummy in the ziggurat on Red Square, however, there is evidence that such a fact takes place: in the ziggurat lie the heads of the ritually killed king and queen, as well as the heads of two more unknown people people killed in the summer of 1991, the time of the “transfer” of power from the communists to the “democrats” (thus the teraphim was, as it were, “updated” and strengthened).

We have some interesting facts.

The first fact is the certainty that the murder of Nicholas II was ritual and, as a consequence, his remains could be subsequently used for ritual purposes. Entire historical studies have been written about this, dotting all the i's.

The second fact is reflected in these studies: testimonies of Yekaterinburg residents who, on the eve of the assassination of the Tsar, saw a man “with the appearance of a rabbi, with a pitch-black beard”: he was brought to the place of execution on a train from ONE CAR, which was occupied by this important person among the Bolsheviks. Immediately after the execution, such a noticeable train left with some boxes. Who came, why we don’t know.

But we know the third fact: a certain Professor Zbarsky “invented” the recipe for embalming in three days, although the same North Koreans, having much more advanced technologies, worked on the preservation of Kim Il Sung for more than a year. That is, someone again apparently suggested the recipe to Zbarsky. And so that the recipe would not slip out of his circle, Professor Vorobyov, who helped Zbarsky, and also, unwillingly and unwillingly, learned about the secret, quite soon “accidentally” died during an operation.

Finally, the fourth fact the consultations of the architect Shchusev (the official “builder” of the ziggurat) mentioned in historical documents by a certain F. Poulsen a specialist in the architecture of Mesopotamia. It’s interesting: why did the architect consult an archaeologist, since Shchusev seemed to be building and not conducting excavations?

Thus, we have every reason to assume that if the Bolsheviks had so many “consultants”: on construction, on ritual murders, on embalming then obviously they advised the revolutionaries correctly, doing everything according to the same magical scheme they would not have built Chaldean ziggurat, embalm the body according to the Egyptian recipe, accompanying everything with Aztec ceremonies? Although with the Aztecs everything is not so simple.

We compared the ziggurat on Red Square with the Tower of Babel not because it is most similar to it, although it strongly resembles it: it’s just that the abbreviation of the pseudonym contained in the ziggurat of the leader of the world proletariat coincides with the name of the god of the Babylonians - his name was Vil. We don’t know again, probably a “coincidence”. If we talk about an EXACT copy of the ziggurat, about the sample, the “source” then this is undoubtedly the structure on top of the Pyramid of the Moon in Teotihucan, where the Aztecs made human sacrifices to their god Huitzilopochtli. Or a structure very similar to it.

Huitzilopochtli is the main god of the Aztec pantheon. He once promised the Aztecs that he would lead them to a “blessed” place where they would become his chosen people. This is what happened under the leader Tenoche: the Aztecs came to Teotihucan, massacred the Toltecs who lived there, and on the top of one of the pyramids erected by the Toltecs they built the temple of Huitzilopochtli, where they thanked their tribal god with human sacrifices.

Thus, everything is clear with the Aztecs: first some demon helped them and then they began to feed this demon. However, nothing is clear with the Bolsheviks: was Huitzilopochtli involved in the revolution of 1917, since the temple near the Kremlin was definitely built for him!? Moreover: Shchusev, who built the ziggurat, was advised by an expert on the cultures of Mesopotamia, right? But in the end it turned out to be a temple of the bloody Aztec deity. How did this happen? Did Shchusev listen poorly? Or was Poulsen telling a bad story? Or maybe Poulsen really had something to talk about?

The answer to this question became possible only in the middle of the 20th century, when images of the so-called “Pergamon Altar” or, as it is also called, the “throne of Satan”, were found. Mention of it is already found in the Gospel, where Christ, addressing a man from Pergamum, said the following: “...you live where the throne of Satan is” (Rev. 2:13). For a long time, this structure was known mainly from legends; there was no image.

One day this image was found. When studying it, it turned out that either the temple for Huitzilopochtli was an exact copy of it, or the structures had some more ancient model, from which they were copied. The most convincing version claims that the “source” now rests at the bottom of the Atlantic in the middle of the continent Atlantis that perished in the abyss. Some of the priests of the ancient satanic cult moved to Mesoamerica, and the second part found refuge somewhere in Mesopotamia. We don’t know if this is actually true, and it’s hard to say which branch the builders of the ziggurat in Moscow belong to, but the fact is clear: in the center of the capital there is a structure, an exact copy of two ancient temples, where bloody rituals were performed and inside this structure in a glass coffin there is a specially embalmed corpse. And this is in the 20th century.

The consultant who “helped” Shchusev build the ziggurat knew well what the structure needed by the customer should look like, even without any excavation of clay tablets. Strange knowledge, strange customers, a strange place for a building, strange events in the country after the completion of construction famine, and more than one, war, and more than one, the Gulag a whole network of places where millions of people were tortured, as if the life energy was being pumped out of them. And, apparently, the ziggurat became the accumulator of this energy.

Trying to talk about the “principles of operation” of the ritual complex on Red Square will not be entirely correct, since magic is an act of occult influence, and the occult has no principles. Let's say physics talks about some kind of “protons” and “electrons”, but in the beginning there still lies the creation of electrons, the creation of protons. How did they come about? As a result of the “magic” of the Big Bang? The phenomenon can be called whatever you like in words, but this does not make the supernatural something that can be touched and seen. Even “feeling” and “looking” is still a fact of interaction of consciousness with individual manifestations of so-called “electricity”, the essence of which is absolutely incomprehensible. However, let's try to fit into the terminology acceptable to scientific atheism.

view from above:
"cut" 4th corner
(taken from the Bolshevik website www.lenin.ru)

Everyone knows what a parabolic antenna is. They also know the general principle of its operation: a parabolic antenna is a mirror that collects something, right? And what is the corner of the building? Angle is an angle, that is, the intersection of two straight walls. There are three such corners at the base of the ziggurat on Red Square. And in the place of the fourth on the side from where the demonstrations passing in front of the stands appear there is no corner. There is, of course, not a stone pabolic “plate” there, but there is definitely no corner there; there is a niche there (it is clearly visible in the archival footage, where people in clothes with stars are burning the banners of the Third Reich at the ziggurat). The question is: why this niche? Where does this strange architectural solution come from? Is it possible that the ziggurat drains some energy from the crowd walking across the square? We don’t know, although let us remind you that it is customary to place a very naughty child in a corner, and sitting on the corner of a table is extremely uncomfortable, since the depressions and internal corners draw energy out of a person, and sharply protruding corners and ribs, on the contrary, emit energy. We cannot say what kind of energy we are talking about; it is possible that some of its qualities are precisely represented by the so-called “electromagnetic radiation”, actively used by the organizers of the ziggurat. Judge for yourself.

"Cut off" 4th corner of the throne of Satan VILA

In the early 20s of the last century, Paul Kremer published a number of publications in which, using such a purely abstract thing at that time as “genes” (they didn’t know about DNA at that time), he deduced a whole theory about ways to influence the genes of a particular population with hypothetical radiation , expelled from dead or dying tissues. By and large, it was a theory about how to spoil the gene pool of an entire people by forcing people to stand for some time in front of a specially treated corpse or by relaying the “radiation” of this corpse to the entire country. At first glance, it’s a pure theory: some “genes”, some “rays”, although this procedure was well known to magicians back in the days of the pharaohs and was governed by the laws of asymptotic magic. According to these laws, the appearance and well-being of the pharaoh in some supernatural way were relayed to his subjects: the pharaoh was sick, the people were sick, they made some kind of freak and mutant pharaoh, mutations and deformities began to appear in children all over Egypt.

Then people forgot about this magic, or rather, people were actively helped to forget that it was magic. But time passes, and people understand how the DNA system works understand from the point of view of molecular biology. And then several more decades pass and such a science as wave genetics appears, phenomena such as DNA solitons are discovered - that is, ultra-weak, but extremely stable acoustic and electromagnetic fields generated by the genetic apparatus of the cell. With the help of these fields, cells exchange information both with each other and with the outside world, turning on, off, or even rearranging certain regions of chromosomes. This is a scientific fact, no fiction. All that remains is to compare the fact of the existence of DNA solitons and the fact that SEVENTY MILLION people visited the ziggurat with the mummy. Draw your own conclusions.

The next possible “mechanism of operation” of the ziggurat is a stable mitogenic field on Red Square, created by the blood and emanations of pain of the people killed there soaked into the local soil. How is it a coincidence that the ziggurat is in this exact place? And the fact that under the ziggurat there is a huge sewer that is, a cesspool filled to the top with feces is also a “coincidence”? Feces this is a material, on the one hand, that has long been and traditionally used in magic to induce various types of damage, on the other think, how many microbes live and die in the sewer? When they die, they radiate. How much Gurvich's experiments showed: small colonies of microbes easily killed mice and even rats. Did the builders of the ziggurat know that there was a sewage system at the site of the future construction? Let's assume that the Bolsheviks did not have an architectural plan for the square; they dug blindly, as a result of which one day the sewer broke and the mummy was flooded. But then the collector was not rebuilt, diverting it, for example, away from the ziggurat. It was simply deepened and expanded (this information will be confirmed by Moscow diggers) so that the leader of the world proletariat had something to eat.

It seems that the builders of the ziggurat seemed to have mastered magic perfectly if, through millennia, they managed to betray some tradition from generation to generation and once reproduced the “throne of Satan” on Red Square without ever having seen any drawings of it known to science. They owned, they own and, obviously, they will own, conducting satanic experiments on the Russians, and possibly on all of humanity. But perhaps they won’t if the Russians find the strength to put an end to this. This is not difficult to do, because: although the ziggurat is registered with UNESCO as a “historical monument” (monuments cannot be desecrated) the unburied corpse lying there completely falls out of the legal field, desecrating the religious feelings of believers of all faiths and even atheists. You can simply pick him up and drag him out at night by his feet, without violating a single Russian “law,” because there is no law or legal basis for which this mummy is in the ziggurat.

From the book "The Origins of Evil (The Secret of Communism)":

“Write to the angel of the Pergamon church: ...you live where the throne of Satan is:.” Any guide to Berlin mentions that since 1914, the Pergamon Altar has been located in one of the Berlin museums. It was discovered by German archaeologists, and it was moved to the center of Nazi Germany. But the story of the throne of Satan does not end there. The Swedish newspaper Svenska Dagblalit reported the following on January 27, 1948: “The Soviet army took Berlin, and the altar of Satan was moved to Moscow.” It is strange that for a long time the Pergamon Altar was not exhibited in any of the Soviet museums. Why was it necessary to move him to Moscow?

The architect Shchusev, who built the Lenin Mausoleum in 1924, took the Pergamon Altar as the basis for the design of this tombstone. Externally, the mausoleum was built according to the construction principle of ancient Babylonian temples, of which the most famous is the Tower of Babel, mentioned in the Bible. The book of the prophet Daniel, written in the 7th century BC, says: “The Babylonians had an idol named Bel.” Isn't it a significant coincidence with the initials of Lenin, who lies on the throne of Satan?

To this day, VIL’s mummy is kept there, inside the pentagram. Church archeology testifies: “The ancient Jews, having rejected Moses and faith in the true God, cast from gold not only a calf, but also the star of Remphan” - a five-pointed star, which serves as an invariable attribute of the satanic cult. Satanists call it the seal of Lucifer.

Thousands of Soviet citizens stood in line every day to visit this temple of Satan, where Lenin’s mummy lies. The leaders of the states paid tribute to Lenin, who rests within the walls of the monument erected to Satan. Not a day goes by without this place being decorated with flowers, while Christian churches on the same Red Square in Moscow were turned into lifeless museums for many decades.

While the Kremlin is overshadowed by the stars of Lucifer, while on Red Square, inside an exact copy of the Pergamon Altar of Satan, the mummy of the most consistent Marxist is located, we know that the influence of the dark forces of communism continues."

Ziggurat – This is a religious building that has become widespread throughout Mesopotamia. The word "ziggurat" comes from from Sumerian "e-kur" - "house of the mountain" The first ziggurats were built by the Sumerians back in the 3rd millennium BC. They were temples placed on one or more platforms. The custom of building temples on the same place over time led to an “increase” in the number of platforms. Sometimes 16-20 temples were built in succession at the same place. The embankments were later designed in the form of steps, plastically processed on the outside niches and projections.

Each step was painted in its own color. There is a certainflower symbolism . The temple at the top of the ziggurat was blue or blue with gold, the lower steps were red, black, yellow (earthly colors), the upper ones were white, blue (heavenly colors). The stepped form gradually gained meaning “stairway to heaven”, connecting the world of gods with the world of people.

DuringIIIdynasty of Ur (Sumero-Akkadian state) the largest ziggurat was in the city of Ur. It was more than 20 m high, its internal monolithic core was made of mud brick, and the outer layer was made of baked brick. The lower step had base dimensions of 63 and 43 m. Two more tiers rose above it; at the top stood the temple of the moon god Sin. The walls of the steps had a slight inward slope and a somewhat convex shape in plan, which enhanced the impression of monumentality. The three lower stairs converged at a height of 15 m, without intermediate platforms. This node was emphasized by a cubic volume - a gate pavilion.

In Assyria, ziggurats acquired a more compact form, the base became square, the temple was located in a massive upper level, the surrounding area was very narrow.

Interesting Temple of Anu and Adad – two gods –in Ashur , consisting of two ziggurats connected by a large courtyard surrounded by walls. Between the ziggurats there were two interlocking lower temples. The temples had two rooms: a hall for those praying And cella, where was god statue. The hall was oriented transversely to the longitudinal axis, and the cella was oriented along it.

Some ziggurats in Assyria had spiral shape: the rise to the top took place along a spiral-shaped ramp, unfolding around the central axis of the structure.

The largest in Mesopotamia was Ziggurat of Etemenanki in Babylon - prototype of the mythical biblical Tower of Babel. This ziggurat dates back to the time of Hammurabi, was rebuilt many times and was destroyed by the Persian king Xerxes. There are several options for its reconstruction. It had a square base with a side of 91.5 m, a height of about 90 m. The seven steps of the ziggurat corresponded to the “seven heavens”, which corresponded to the concept of levels of spiritual perfection. The lower steps were treated with rectangular niches. All seven steps were painted in different colors.

The ziggurat has always been the main building of the city and was placed in its geometric center.

5. Architecture of homes and palaces.

INIIImillennium BC the poor population of Mesopotamia built houses using natural materials. Reed thickets up to 4-5 meters high were cut through, leaving only the stems along the contour of the circle. These stems were tied at the top and intertwined with cut stems (basket style). The resulting frame was coated with clay. The floor was also made of cut reeds, covered with clay, and covered with mats. Rectangular houses made of mud brick with flat roofs were also built.

Cities were built up blocks of “continuous construction” with common walls between houses. Blank walls with small windows at the top faced the street. The living spaces of a town house were grouped around a courtyard, which was either open or covered at a higher level than the other rooms. Thanks to the resulting difference in the roof, light entered the courtyard through the light openings. In the main room of the residential building there was an adobe bench and a hearth, and in the kitchen there was a brick vaulted oven. Wealthier homes had baths, paved-floor toilets, and sewers. Some doorways had arched lintels. The openings did not have door panels and were covered with mats. Wooden bars were inserted into the windows. This type of housing still exists in Iraq.

Each city-state had a ruler's palace. Some of the most ancient are the palaces in Ur, Kish and Mari. Palace in Ur had a compact square plan and blank exterior walls. In its image, it resembled a temple, inaccessible to mere mortals. Palace in Marie (XVIIIV. BC.) had courtyards and temples, an archive of clay tablets, a school of scribes, and was decorated with paintings and sculpture. The entrance area, a large courtyard and a throne room made up the main suite of rooms. A temple area with its own courtyard surrounded by living quarters was attached to it. At the rear of this area were food warehouses. Small rooms were grouped around larger ones. The palaces were decorated with paintings depicting various processions; the entrance to them was decorated like the entrance to a temple.

Palace in Kish refers to middleIIImillennium BC Its main part has the shape of a rectangle. Two rows of blank walls surround a complex system of rooms consisting of a courtyard and small rooms surrounding it. Obviously this is a residential part. A smaller rectangle is attached to it - the receiving area. The offset between these two rectangles forms an external courtyard, into which a decorative niche with a staircase, stepped in plan, opens. From this niche the king appeared to the people. A terrace with round pillars is attached to the wall of the palace. This courtyard was apparently a place of public meetings. The layout of the palace premises was complex, confusing, like a labyrinth.

Large palaces were divided into several functional zones, each of which was formed around an open courtyard.

Palace of the Assyrian king SargonIIin Dur-Sharrukin (711-707 BC) is a more developed type compared to Sumerian palaces. It stood on a platform with an area of 1,300,000 m2 and a height of 14 m. This platform is half advocated the outline of the city walls: in the event of an uprising inside the city, the king could quickly hide outside its borders. Inside the platform there was a whole system of drainage pipes and ventilation shafts. The platform was connected to the city territory by a ramp for the entry of chariots. The main entrance was designed in the form of a gate framed by two powerful towers. The lower parts of the towers were decorated with reliefs in the form of giant figures of winged bulls - “I’m walking”, the gate opening with a span of 4.3 m was covered with an arch. The height of the gate opening is 6.46 m. The gate led to an open courtyard with an area of about 1 hectare. This courtyard united all areas of the palace. The layout of the palace as a whole is not symmetrical, with the exception of the ceremonial areas.

The palace has more than 200 rooms and 30 courtyards, The layout clearly identifies functional zones: the front courtyard zone, the king's reception zone, the residential zone, the office space and warehouse zone, the religious zone, and the summer palace zone. The Summer Palace was designed as a free-standing pavilion in the style of a folk home "bit-hilani" with a deep external niche, the ceiling of which rests on two round pillars. The area between the main and summer palaces was occupied decorative garden, where exotic plants from different countries of the East were collected.

The interiors of the palace were richly decorated: the state halls were decorated with slabs with reliefs, painted with bright colored frescoes, the floors of the halls and courtyards were paved in several layers. The top layer is made of ceramic or stone slabs with patterned designs. The walls were covered with plaster made from a mixture of lime and gypsum, 3–4 cm thick. The doors were made of cypress wood and covered with bronze. The flat ceilings of the halls were made of beams made of Lebanese cedar; smaller rooms were covered with brick vaults.

Was even more grandiose Palace of King Sennacherib in Nineveh. It had 27 monumental portals with figures of shedu and lions; slabs with reliefs have a total length of 3000 m. There was a wall around the palace a large park with artificial lakes and decorative pavilions.

At the end VII V. BC. Babylon was rebuilt. During the 43-year reign of King Nebuchadnezzar II, colossal palaces, temples, and powerful defensive walls were built. Nebuchadnezzar's palace occupied an area of 4.5 hectares. It was divided into two parts: one was located within the city, the other outside the city wall. This indicates that the king of Babylon, just like the king of Assyria, was afraid of popular unrest within the city and provided himself with the opportunity to “evacuate” outside its borders. The ruins of the outer palace have not survived. The interior palace has an irregular trapezoidal plan. The compositional basis of his plan is a system of 5 courtyards. The central courtyard is larger than the others; around it were the king’s chambers and his throne room. Not only the king lived in the palace, but also his guards and entourage. The reception hall, opening onto the courtyard, has dimensions of 17x52 m. Its walls were covered with dark blue glazed ceramic tiles with floral patterns and images of columns with capitals of the Aeolian type (close to Ionic). The thickness of the walls of the hall is 7 m. Apparently, it was covered with a vault.

Main types of cities and their structure. Development of principles of urban planning in Mesopotamia.

Mesopotamia is rightfully considered the ancestor of urban planning. In the south of this region, in the most fertile areas, the Sumerian city-states reached a high level of development at the turn of the 4th–3rd millennia BC, especially Ur, Uruk, and Lagash. But it was not possible to completely reconstruct the appearance of these cities, because they suffered from numerous wars, and their buildings were mainly made of raw bricks, which over the millennia turned into heaps of clay.

Numerous excavations carried out in Mesopotamia have established that the most ancient cities had the shape of an oval or circle and were protected by powerful defensive walls. The inner-city territory was divided into two main parts: the citadel and the residential area. Citadel - This is an additionally fortified area, which was usually located in the very center of the city. Palaces of rulers and temples, judicial and other public buildings were concentrated inside the citadel. The territory of the citadel was sometimes designed in the form of an elevated terrace, ziggurat with a height of up to 40–50 m, this area stood out in the structure of the city. Usually in the city there was one main street, oriented along the northeast–southwest axis. The rest of the streets in the city were irregular system were very narrow. Residential development was continuous, based on interlocking adobe houses with courtyards.

Some cities were formed around sanctuaries - centers of certain religious cults. This is, for example, Tudub city on the Diyala River. The site of the sanctuary had the shape of an oval and was surrounded by two rows of powerful fortress walls. The area on which the temple was located was raised onto a platform. The fortified areas of the sanctuaries apparently served as shelter for the city's population during the numerous wars in the region. Some cities, for example, the city near Takht-i-Suleiman in the territory of modern Iran, had an artificial reservoir in the center of the city - a supply of water in case of war.

Compared to the cities of Mesopotamia, the cities of Egypt had wider streets and more advanced landscaping and landscaping due to the fact that the danger of wars for them was very insignificant.

The capital of the Sumerian-Akkadian state during the IIIrd dynasty, the city of Ur stood on the banks of the Euphrates River and had the shape of an irregular oval. A protective canal was dug around the city walls. The city's territory had dimensions of 1000 by 700 m. The city walls reached a thickness of 25-32 m. In the center of the city, closer to its northwestern part, there was a citadel on a mound. Placed here palace and temple complex. The temple was dedicated to the moon god. The main street of the city was oriented towards the main entrance to the courtyard in front of the ruler's palace. The entrance gate to the temple complex was oriented to the northeast. In the northwestern corner of the citadel, inside a separate courtyard, there is a three-tiered ziggurat. On the top platform of the ziggurat is the sanctuary of the Moon God. Outside the ziggurat area there are two more temples, square-shaped and without window openings.

The outer walls had the shape of an absolutely regular circle. Hittite city of Samal (Zanjirli) in northern Syria (X –VIIIcenturies BC.). The city had three fortress gates. For the citadel, a natural hill in the shape of an irregular oval was used. Inside, the citadel is divided into autonomous sections; the entrance to the citadel is protected by an additional fortress wall with powerful gates.

Beginning withVIIin BC In Mesopotamia, cities begin to appear with an outline close to a rectangle. Clay tablets were found on which were written city plans. This indicates that new cities are beginning to be built according to a pre-planned plan, while old cities were formed spontaneously on the site of ancient Neolithic settlements that had a circular shape.

An example of a regular city would be Borsippa (VIV. BC.). It was established that the city plan was laid out using a module equal to 59 m or " Ashlu" (rope). Obviously with the development of mathematics and geometry, when laying out plans for new cities, a modular system began to be used, using a stretched rope of a certain length. The territory of the city began to be divided wider streets into large blocks of regular square or rectangular shape. A quarter for the nobility was specially allocated in the northwestern corner of the city territory and was additionally protected by a wide canal across which a bridge was thrown.

The Assyrian was also built according to a regular plan. the city of Dur-Sharrukin - the residence of King SargonII(Sharrukina). This city was built in just 4 years (711 - 707 BC) and at the end of the 7th century. BC. was destroyed by the Medes. In plan, this city was a rectangle, close to a square and oriented with corners along the cardinal points. Its citadel was not located in the center, but was built into the fortress wall from the northeast so that it partially extended beyond the city: it was a high platform with the palace-residence complex already described earlier. The city plan was built on the basis of a regular network of streets intersecting at right angles. Each wall, with the exception of the northeastern one, had two powerful fortress gates.

The pinnacle of urban planning art in Mesopotamia was the city of Babylon during the time of King NebuchadnezzarII(604 – 562 BC). At this time, Babylon became the brilliant capital of a huge kingdom, it became famous throughout the world for its luxurious palaces and temples, "The Hanging Gardens of Babylon"- one of the seven wonders of the world.

Babylon was located on both banks of the Euphrates River, its territory occupied 20 square meters. km. The city was protected by several rows of fortress walls. An 18 km long outer wall protected the city's agricultural lands on the most dangerous eastern side. This wall had the shape of an irregular triangle, at the northern end of which was the king's summer palace. The next level of fortifications directly protected the territory of the city itself, which had the shape of an irregular rectangle. This territory was 410 hectares. Around the fortress walls there was a deep ditch with water, connected to the river. The fortress walls were 7.5 m thick. Fortress towers were placed every 20 m. There were 7 gates leading into the city, named after the gods Sin, Enlil, Marduk, Shamash, Adad, Ishtar, Lugalgirra. From the gates there were streets that formed inside the city rectangular network. The main gate of Babylon was the northwestern one, dedicated to the goddess Ishtar. Passed through these gates main street - “procession road”, which began outside the city and led along the banks of the Euphrates River to the Temple of the New Year. Along this road, on New Year's Day (in March), the statue of the god Marduk, the patron saint of Babylon, was carried on a stretcher to the temple located in the center of the city on sacred site of Esagila. Esagila was citadel- a fortified area divided along the river into several zones. All the central part of the city was formed along the river and the “procession road” and had not a centric, but linear character. The width of the main street (16 m) and the size of the buildings in the central part of the city contrasted sharply with the ordinary residential buildings, which were low-rise. The width of the streets in the city was 1.5 - 2 m.

Sacred Site of Esagila had an area of more than 7 hectares. In the Esagila ensemble, the main building of the city stood out for its size - Ziggurat Etemenanki (Tower of Babel). It had base dimensions of 91.5 by 91.5 m and a height of about 90 m. The seven steps of the ziggurat were painted in different colors, and the upper tier was gilded. In general, color was very actively used in Babylon to identify the most significant structures: The Ishtar Gate was lined with glazed blue bricks with relief images of lions and dragons in orange-yellow, the processional road was framed by high walls, also lined with glazed bricks. This helped to highlight the main street and create its special “interior” in the urban environment. The left bank part of the city was older; privileged sections of the indigenous population lived here. This part of the city had additional fortifications along the river. The right bank part was called “New City”, it was connected to the left bank part by a 123 m long bridge. River port and there lived artisans and traders of different nationalities.

Based on the considered examples of cities in Mesopotamia, the following can be identified: main achievements of urban planning in this region:

Have been developed basic principles of fortification architecture, which were further developed in the Middle Ages;

When laying out the layout of an urban area a system of planning modules was used;

Were first used water supply, sewerage, artificial landscaping elements;

In the urban structure the main street and the main building stood out as the main compositional elements;

When forming urban ensembles color was used as the main compositional tool.

GLOSSARY OF TERMS:

Mesopotamia

Babylonia
Babylon
Borsippa
Dur-Sharrukin
Samal (Zanjirli)
Nineveh
Ziggurat
Citadel
False vaults
Wedge vaults
Balkhi vaults
Glazed brick
Ceramic "nails"
Ashlu module
Palace in Marie
Palace in Kish
Palace of Sargon II in Dur Sharrukin
Palace of Nebuchadnezzar II in Babylon
Hanging Gardens in Babylon
Ishtar Gate in Babylon
Esagila complex in Babylon
Etemenanki Ziggurat
Bit-hilani

LECTURE No. 2 (7): ARCHITECTURE AND ART OF IRAN IN THE ACHEMENID ERA

LECTURE PLAN

Origins and features of the culture of Iran during the Achaemenid era;

Cities. Pasargadae, Persepolis: features of the layout and architectural solutions of the palace complexes;

Features of Persian fine art, main genres.

Origins and features of the culture of Iran during the Achaemenid era

The Iranian plateau is located northeast of the Mesopotamia region. Since ancient times, the population of these places was engaged in nomadic cattle breeding; the lower eastern and western outskirts of the plateau were suitable for agriculture. Several small state entities initially formed on this territory. The main ones Elam(XIII – XII centuries BC) and Mussel(X century BC). Adjacent to the same territory in the north was the state Urartu.

At the end of the 7th - beginning of the 6th centuries. BC. The Medes, in alliance with the Babylonians, defeated Assyria and captured territory as far as the Persian Gulf. But at this time their neighbors are strengthening - Persian tribes. In 553 BC. they are led by King Cyrus - founder of the Achaemenid dynasty- crushed Media and captured in a short time significant territories from Urartu to Mesopotamia and Northern Egypt. Highly developed civilizations of antiquity existed in these territories, so the culture of Persia bears noticeable features of eclecticism - a combination of forms borrowed from different cultures. The heyday of the Persian state was VI – Vcenturies BC. when they created the largest of the ancient eastern states, whose borders extended from the Indus River to the Aegean Sea and from Armenia to the 1st cataract of the Nile River, and the king of Persia appropriated to himself the title “shahin-shah” - “king of kings.” This powerful state existed until 330 BC, when it was conquered by Alexander the Great. After the death of Alexander, Persia became part of the Hellenistic Seleucid state.

The culture of Persia was based on the more ancient culture of the Medes. Their religion was based on fire worship cult, so they did not build temples, but fire altars. It was customary for tombs in Media to be carved into rocks at a considerable height. The facade of the tomb was a recessed portico in the form of a rectangular niche with two proto-Ionic columns, the capitals of which have large scrolls on both sides - volutes, between which there is a relief palmette. In plan, the tomb is symmetrical relative to the axis of the portico and has several chambers, sometimes located at different levels. It was also customary to build royal residences on elevated mountain plateaus.

Cities. Pasargadae, Persepolis: features of the layout and architectural solutions of the palace complexes

In the middleVIV. BC. the founder of the Achaemenid dynasty, King Cyrus, builds high in the mountains of Persia residence city of Pasargadae modeled after the Median capital of Ecbatana. This complex is located in the foothills of the Zagros Mountains, in the valley of the Pulvar River. The citadel, surrounded by powerful walls with towers, was located on a platform 13 m high, made of stone. It was adjacent to a steep hillside. The terrace was made of limestone slabs and faced on the outside with powerful stone squares (4.2 m in length). The palaces (residential and reception) were located on an area surrounded by a wall and adjacent to the terrace. The palace buildings were based on a multi-column structure. The entrances to the "audience palace" were flanked by two blind towers, between which there were 30 columns, 15 in two rows. The walls were made of raw brick on a base of hewn squares. The side rooms were higher than the central one.

In the architectural decoration of palaces it was used a decorative combination of black and white stone, borrowed from the architecture of Urartu. Residues discovered facing slabs-orthostats, adorning the walls and doorways of palaces. In terms of the style and theme of the images, they are very close to the Mesopotamian - Assyrian and Elamite traditions. Their exact analogues were discovered among the orthostats of the palace in Nineveh. An analysis of the monuments of Pasargadae reveals in them a clear eclecticism: a combination of Egyptian, Ionian, Lydian, Urartian, Mesopotamian techniques.

To carry out construction work, the Persian kings used captive craftsmen from different countries; materials were also brought from all over the Persian empire. From the city of Pasargadae, only the tomb of King Cyrus has survived, made in the form of a small stepped pyramid, ending with a sculpture in the form of a sarcophagus. The height of this monument is 11 m. The massive steps of the tomb are made of carefully fitted sandstone slabs, fastened with staples.

After the sudden death of King Cyrus, the construction of Pasargadae was interrupted. In 520 BC. King DariusI begins construction of a new fortified residence - more grandiose and luxurious than Pasargadae. This city is known by its Greek name Persepolis. The complex was built according to a single plan and had to embody in its forms the idea of the wealth and power of the Persian kingdom. The construction of the complex lasted more than 50 years, and at least 3,000 people took part in it every year.

The fortress was erected on an artificially prepared terrace measuring 450 by 300 m, 12 m high, carved into the slope of a rock and reinforced with a high retaining wall made of huge stone blocks. The terrace was surrounded on all sides by a fortress wall. All buildings were erected from magnificent light sandstone, they are located according to a strict geometric system, their axes are parallel.

There was a large road leading to the fortress. symmetrical two-flight staircase, along the axis of which they were placed on the terrace propylaea with 4 columns. Having passed through the propylaea, the axis of the composition turns to the right, where the largest building of the complex is located - Apadana. This is a reception hall located in front of the territory occupied by the palaces of King Darius and his son Xerxes. The Apadana Hall was intended for the annual ceremony of bringing tribute from countries subordinate to Persia to the Persian king in honor of the New Year holiday (Noruza). The room was supposed to accommodate several thousand people at the same time, so it was built according to the type multi-column hall with dimensions of 62.5 by 62.6 m. The 36 Apadana columns have a diameter to height proportion of 1:12, the distance between the axes is 8.74 m. Thus, they occupy only 5% of the area of the hall, creating a high and spacious interior. The height of the columns is about 20 m. The hall is surrounded on three sides by porticoes of two rows of 6 columns. The entablature made of powerful cedar beams was trimmed with gold leaf, the roof parapet was lined with colored ceramics. Massive quadrangular towers rose at all four corners of the building. On the walls of the stairs there are preserved orthostats - facing stone slabs of the Assyrian type, covered with relief images of processions of foreigners bringing tribute: Elamites, Medes, Babylonians, Arabs, Armenians, Scythians, Khorezmians, blacks in their national costumes and military armor.

East of Apadana stood parallel to it “Hall of a Hundred Columns”, designed to store treasures. It had blank walls, only the central part was illuminated through the roof by very small square windows. Near this hall there were several small treasuries. In front of the entrance there was a wide canopy supported by two rows of columns. The end walls of the canopy were decorated with images of Mesopotamian winged bulls - shedu.

Between the Apadana and the “hall of a hundred columns” there are triple gates leading to the palace complex, all the buildings of which also consist of large and small multi-columned halls.

Thus, the multi-column hall was the main “cell” of the architecture of Ancient Iran. Besides, a new type of columns was developed here. Their height reached 18–20 m. Thinner proportions of columns were not found anywhere in the world at that time. Column base It looked like an overturned cup of a multi-petaled flower with a shaft above it. Trunk was smooth or fluted with narrow flutes. The column was crowned extremely complex capitals: a form is placed on a palm-shaped cup in the form of a vertical beam of square cross-section, decorated at the bottom and top with counter paired curls of volutes. On this beam they place double protomes - sculpted half-torsos of bulls, lions or horses. The saddle-shaped depression of the back between the heads serves to support the ceiling beam made of cedar beams. The ceiling along these beams consisted of small-paving flooring and a clay carpet. Interiors decorated with bright colors on plaster, glazed ceramics, metal overlays, and colored curtains. The living quarters had a north or north-east orientation.

Features of Persian fine art, main genres

In Iran, unlike neighboring countries, there is own religious and philosophical system – Zoroastrianism. According to the teachings of Zoroastrianism, the world is an arena for the struggle of good forces, which the deity personifies Ahura Mazda and “evil thoughts”, which is embodied in the image Anghra Manyu. The duty of a follower of Zarathushtra is to help good, as a result of which he goes to heaven (Garo-dmana).

The personified qualities of the main gods gradually become independent gods: Righteousness, Goodwill, Goodwill, Health, Immortality, Holy Piety. The sacred elements are also revered: earth, water and, in particular, fire– a symbol of Ahura Mazda, as well as - the souls of ancestors and righteous people, especially the ancestors of the royal family. The gods were depicted not as anthropomorphic creatures, but as reincarnations (hypostases) - animals and birds. The iconography suitable for their images was found among pre-existing images of the Ancient East, which often did not correspond to them in meaning.

The art traditions of Iran go back to the pre-Achaemenid period (XIII – VIIcenturies BC.). In numerous burial grounds dating back to this period, so-called “gray ceramics” were found - tea pots with decorative spouts in the form of a bird’s beak, goblet-shaped vessels, bowls with 3 legs. Later appear red clay products. This ceramic style spread throughout the vast region of the Iranian plateau. Decorative metal products – toreutics- from the 11th century BC. also appear in burials as ritual vessels: golden cups, dishes, swords, daggers, spearheads, axes. In form, these objects are closely related to Transcaucasian ones. Vessels were widespread zoomorphic And anthropomorphic forms

The earliest examples of Iranian art of the 8th – 7th centuries. BC. found in the Ziwiye mounds: ceremonial weapons, the handles and scabbards of which are decorated with gold leaf reliefs with images of animals and ornaments in the style of which are visible Urartian. Assyrian and Scythian features. On the hilts of the swords there is an image of the “tree of life”, on the sides of which stand winged geniuses - a motif borrowed from Urartu and Assyria.

A special group among products toreutics constitute the so-called Luristan bronzes: details of harness, votive (ritual-cult) objects in “animal style”. In a variety of intricate compositions of this style, various animals are found: panthers, deer with wings, goats and chimera animals, combining in their appearance elements taken from different animals (lion, eagle, bull, fish).

The “animal style” reached its highest development in X -VIIcenturies BC., when metallurgy developed in Luristan. In the style of images occurs mixing iconographic images different cultures of this region: Assyrian, Elamite, Urartian. Distributed "idols"– the tops of votive standards depict anthropomorphic deities, goddesses with the heads of fish and birds; often there are images of Zervan, a mythical creature combining the features of a young man and an old man. Animal images sometimes resemble later Scythian ones: deer with legs drawn up, jumping panthers and vulture heads.

DuringVIII – VIcenturies BC. are being created first Iranian state formations, whose population consists of Medes and Persians. Art has its own Iranian characteristics. In the VI century. BC. Media crushed Assyria and Urartu. A treasure found in Iranian Kurdistan in the residence of the ruler dates back to this time. This treasure consisted of treasures looted during the Assyrian campaign: bone plates (furniture decorations), caskets, harness decorations, noblemen's breastplates, silver vessels, chariot decoration parts from Urartu. An interesting find is a silver dish with gold appliqués in the form of animal figures: panthers, vulture heads, hares. The ornamentation contains Urartian elements (rosettes, hieroglyphs). Found also golden pectoral(chest decoration) with images of fantastic creatures. In the center of the composition is the tree of life, on the sides there are figures of goats and winged bulls, a number of fantastic animals: a sphinx, a winged ram, a lion with a bird's tail and bull's horns. Sometimes foreign images were copied without understanding the meaning, “good” geniuses were mixed with “evil” ones, they were borrowed from cylinder seals and heraldic compositions. In general, animals in many cultures were considered reincarnations of gods (lion, boar, eagle, falcon, raven). Later, all these motifs are found in Iranian art.

In palace buildings constantly There are various reliefs that are inextricably linked with architectural forms. The palaces of Pasargadae and Persepolis were built using Median, Elamite, Urartian and Assyrian forms; craftsmen were also invited from Ionia and Lydia (Greek colonies in Asia Minor). At the entrance to the Persepolis complex there are 10-meter-high “shedu” - winged bulls with a human head, borrowed from Assyria, the base and side walls of the Apadana staircases were completely covered with reliefs in several tiers. These reliefs depict soldiers of the Persian army, as well as Medes and Elamites, carrying the royal throne and leading horses. The other tier depicts a procession of peoples led by the Persian governors of the provinces subordinate to Persia. They bear tribute to the Persian king: golden vases, cups, weapons, and lead lionesses, bulls, horses, camels. The subjects and poses are canonized, the figures of the warriors are strictly repeated, as if they were cut out from a stencil. Everywhere there is a desire for symmetry, a mirror repetition of scenes.

This expresses the “imperial style” of the official art of Achaemenid Iran. The architectural form and sculpture are combined into one whole narrative about the power of the Persian king. The main scenes depicted on the walls of the staircase were crowned the image of a solar disk with wings is clearly borrowed from Egypt. It was apparently interpreted as a symbol of the Iranian god Mithras. Shedu also acquired a new meaning as a symbol of Gopatshah - the god of waters and plants.

Traces were found inside the palace premises paintings on clay plaster. In interiors decorative metal overlays and colored ceramics were used. Traditional metal products were also widespread during the Achaemenid period: rhytons(vessels with images of the head and body of an animal, cups, dishes, which were made by Median, Armenian and Asia Minor craftsmen. Rhytons were very diverse and were made both from ceramics (earlier ones) and from precious metals, and, obviously, served as an attribute of power. The history of this type of vessels goes back more than two thousand years.There were also traditional cylinder seals, depicting the king at the altar with fire, the fight of the king with monsters, good and evil demons.

In the period preceding the Macedonian conquest of Persia, images of the fertility goddess appear Anahita, made by Greek sculptors according to the type of images of Artemis. Mithra is already identified with Apollo or Helios, Ahura Mazda with Zeus. This period can be called "pre-Hellenism".

Subsequently, a closer synthesis of ancient culture and the culture of the Ancient East took place throughout the Hellenistic world.

GLOSSARY OF TERMS:

Achaemenid Iran

Zoroastrianism
Median rock tombs
Proto-Ionic columns
Pasargadae
Persepolis
Tomb of Cyrus at Pasargadae
Apadana of Xerxes in Persepolis
"hall of a hundred columns"
Persian order
Protomes"
Toreutics
Luristan bronzes
Cylinder seals

The evolution of the form of temples is due to two fundamental changes, which, on the one hand, relate to their function, because the temple ceases to be a large repository for harvests, and on the other, to their internal space. So, little by little, the outer masses of buildings began to emerge, which showed thick walls supported by large pilasters.

Initially, a tower with several floors rose next to the temples, but from the end of the 4th millennium BC. the temples themselves rise above artificial terraces, joining the tower. Since the 3rd millennium BC. these towers, called ziggurats, become the most important component of the temple, located in the same walled space. Their monumental dimensions and clearly defined typology are established around the 2nd millennium BC.

Ziggurats look like a huge massif formed by stepped terraces that serve as the foundation for the temple located at the top. The stepped nature of the terraces creates a descending gentle dimension.

A ziggurat, dedicated to the gods as their habitat and a place to store offerings to the deities, resembles a towering altar. This is a building that demonstrates the desire to establish a connection with the sacred.

Its steps or ascending slopes allow one to reach the very top, where everything human strives to merge with divine forces.

The adoption of the ziggurat signifies a final break with the sanctuary, which was conceived as a closed interior space. The individual and direct space that formerly existed between the deity and the village is gradually separated. Individuals revere priestly representation to establish relationships with the gods.

The ziggurat developed into a monumental center of Mesopotamian cult throughout its history. Despite the diverse populations that settled in the region: Sumerian, Akkadian, Kassite, Babylonian, Assyrian, etc., they all considered ziggurats to be structures worthy of reverence and deep admiration.

Evolution of ziggurat architecture

Since the protohistoric period, as well as during the era of the first dynasties, the evolution of the ziggurat has consisted of minor changes. A typical ziggurat consisted of a series of stepped terraces, rising one above the other with a gradual decrease starting from the base. Initially, the ziggurat was separated from the temple and was built in an isolated place, surrounded by a wall. Its shape shows three different types. In the south, its base was rectangular and had stairs for passage. In the north, the base was square and there were slopes instead of stairs. The third type combines both of these solutions by placing stairs on the lower platforms and slopes on the upper ones. With the establishment of the ziggurat archetype, the premises that complemented the temple were finally eliminated, and the temple lost its function of storing agricultural products. During the Third Dynasty at Ur (2113 BC), Ur-Nammu built the first ziggurat of colossal size, consisting of three floors (with a base of 56 x 52 m and a height of 21 m). Rising above a rectangular foundation, it was directed towards all four cardinal points. Currently, only two floors of its original three terraces have been preserved. The walls of the platforms are tilted.

From the base of this building and at a sufficient distance from the walls, a monumental staircase with two side branches begins at the level of the first terrace. On this platform, the rotunda gave the grand staircase the majesty required by the ritual ascent of the priestly procession. At the top of the platforms was a temple dedicated to the moon god Sin. The center of the staircase extended along both platforms all the way to the top of the temple, connecting the various floors. The staircase embodied a design solution that was not only driven by technical needs, but also responded to the desire for the gods to take an active part in worldly life. This monumental staircase is the result of an activity considered sacred. For the Sumerians, this structure connected the gods with people and was an endeavor that challenged man's capacity for renewal. This monumental staircase was one of the finest designs in Mesopotamian architecture.

The Ziggurat experienced little change in subsequent periods, despite the diversity of cultures and peoples inhabiting Mesopotamia.

A typical ziggurat can be considered the Babel Tower, which is mentioned in the Bible and which is described in the book “Genesis”: “And then they said one to another: “let's make bricks and burn them in fire.” And so the brick began to serve them as stone, and the resin as lime mortar. Then they said: “let's build a city and a tower with its top reaching to heaven - and become famous in case we are scattered throughout the entire Earth” (“Genesis” 11, 3-5). During this era, in the city of Babylon there was a ziggurat called Etemenanki, which meant “house - the foundation of heaven and earth.” It was a seven-story tower on a square foundation platform measuring 90 x 91 m and identical in height. The unfired bricks were covered with a layer of glazed material that varied in color on each platform.

At the top, one or two temples dedicated to the god Marduk were erected. In a symbolic sense, the Universe consisted of seven levels, and all seven floors of the ziggurat represented precisely these seven levels.

The ziggurat was entered from a massive base thanks to a separate monumental staircase. The structure was closed by a wall with 12 doors, which was complemented by adjacent rooms on the south side and several warehouses on the east side.

The meaning of ziggurats

It can be said that ziggurats were associated with the idea of a “sacred mountain,” the center of the universe or the sacred axis of the universe, at the top of which was the gateway to heaven, because the Mesopotamians believed that this mountain contained many meanings. For them, the great nursing mother was the “Lady Mountain,” from which we can conclude that the mountain was a magical source of life, where fruits and waters were born.

There is no unity of opinion among scientists who have studied the topic of ziggurats. According to some, they had an astrological function, could be centers for observing the luminaries, and the various floors were planetary images. Others believe that their purpose was more practical and was associated with periodic floods, which is why in this case they should be interpreted as places of salvation. Finally, some scholars emphasize the idea of ritual sacrifice (very rooted in Sumerian culture), which is why the ziggurat should be considered a large altar where sacrifices were made.

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