Taq-e Bostan is one of the most important relics from the Sasanian period and a major tourist attraction in Kermanshah, western Iran. The word Taq in Persian means a large arch. The site is located on the slopes of Mount Taq-e Bostan, to the northeast of present-day Kermanshah.
Throughout history, kings have used art to display and immortalize their power and achievements, not only for their contemporaries but for future generations. One of the most enduring ways to do this was by carving reliefs into rocks and mountains, depicting significant events and royal ceremonies. Taq-e Bostan, often associated with royal hunting grounds, is renowned for its sophisticated rock reliefs and is considered one of the finest examples of Sasanian visual art, showing advanced composition and narrative techniques.
During the early Sasanian period, sites such as Persepolis were traditionally used for royal inscriptions and reliefs. However, from the reign of Ardeshir II (r. 379–383 CE) onward, Taq-e Bostan became a favored location for carving monumental reliefs.
Its selection was influenced by several factors, including its strategic position near major communication routes, its lush natural setting, and the presence of a clear spring whose reflective waters enhanced the visual impact of the carvings. According to many archaeologists and historians, most of the reliefs at Taq-e Bostan date from the 3rd to 7th centuries CE, corresponding to different phases of the Sasanian Empire.
Taq-e Bostan holds exceptional value for historians and archaeologists, as it vividly illustrates the art, ideology, and royal rituals of ancient Iran. The site includes reliefs depicting the coronation ceremonies of Sasanian kings such as Ardeshir II, Shapur II, and Shapur III, and Khosrow II (Khosrow Parviz), accompanied by inscriptions in the Pahlavi script.
The precision of the carvings, the balance of composition, and the attention to fine details demonstrate the high level of artistic mastery achieved during the Sasanian era. In addition to royal imagery, the reliefs also depict musicians and courtly scenes, reflecting the cultural importance of music and the arts in Sasanian society.
The large arch, or Iwan, features three prominent figures carved on its back wall. These figures are generally interpreted as Khosrow II, flanked by Ahura Mazda and Anahita, although some scholars suggest alternative identifications, such as a priest and priestess.
Below this scene stands an armored Iranian knight mounted on a horse, widely believed to represent Khosrow II riding his famous horse, Shabdiz. Despite scholarly debate over certain identifications, the relief is widely regarded as one of the most iconic representations of late Sasanian royal imagery.
The small arch of the Taq-e Bostan complex is a rectangular chamber approximately 3.5 meters high, 9.5 meters wide, and 3.8 meters deep. Its entrance is flanked by two stone pillars, each about 7.3 meters high.
Although less ornate than the large arch, the small arch is considered especially valuable by archaeologists due to the presence of two Pahlavi inscriptions carved on either side. Inside, the reliefs depict Shapur II and Shapur III, offering rare and important representations of these Sasanian rulers.
One of the most remarkable features of Taq-e Bostan is the boar hunting relief, carved within a frame measuring approximately 4.13 meters in width and 5.7 meters in length. On the left side of the scene, twelve elephants are arranged in vertical rows, each carrying riders, as handlers drive wild boars from the marshes into open areas.
Above the hunting scene, boats are shown on the water. In the central ship, the king—surrounded by female musicians—aims his bow at charging boars. Other figures in the boat appear to be attendants, oarsmen, and musicians playing the harp. Behind the king’s vessel, another boat carries additional musicians, emphasizing the ceremonial nature of the royal hunt. The right side of the relief depicts the conclusion of the hunt.
During the Qajar period in the 19th century, Mohammad Ali Mirza ordered the carving of a relief at the Taq-e Bostan complex. Unfortunately, this intervention caused noticeable damage to parts of the ancient site, an act that is now widely regarded as regrettable due to its impact on the original Sasanian reliefs.
The Taq-e Bostan area offers more than just rock reliefs. Nearby, visitors can explore the Stone Museum, located north of Taq-e Bostan Boulevard. The museum displays stone artifacts from both the Sasanian and Islamic periods, including architectural capitals decorated with figures of Anahita, Ahura Mazda, and the Tree of Life, as well as a bust believed to represent Khosrow II and remains from the Qajar Palace of Qasr-e Shirin.
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For a clearer understanding of relief sculpture and its artistic techniques, see the Britannica article on relief sculpture.
