linguistic:translation
Art and architecture

Parthian art can be divided into three geo-historical phases: the art of Parthia proper; the art of the Iranian plateau; and the art of Parthian Mesopotamia. The first genuine Parthian art, found at Mithridatkert/Nisa, combined elements of Greek and Iranian art in line with Achaemenid and Seleucid traditions. In the second phase, Parthian art found inspiration in Achaemenid art, as exemplified by the investiture relief of Mithridates II at Mount Behistun. The third phase occurred gradually after the Parthian conquest of Mesopotamia.

Common motifs of the Parthian period include scenes of royal hunting expeditions and the investiture of Arsacid kings. Use of these motifs extended to include portrayals of local rulers. Common art mediums were rock-reliefs, frescos, and even graffiti. Geometric and stylized plant patterns were also used on stucco and plaster walls. The common motif of the Sasanian period showing two horsemen engaged in combat with lances first appeared in the Parthian reliefs at Mount Behistun.

In portraiture the Parthians favored and emphasized frontality, meaning the person depicted by painting, sculpture, or raised-relief on coins faced the viewer directly instead of showing his or her profile. Although frontality in portraiture was already an old artistic technique by the Parthian period, Daniel Schlumberger explains the innovation of Parthian frontality:

'Parthian frontality', as we are now accustomed to call it, deeply differs both from ancient Near Eastern and from Greek frontality, though it is, no doubt, an offspring of the latter. For both in Oriental art and in Greek art, frontality was an exceptional treatment: in Oriental art it was a treatment strictly reserved for a small number of traditional characters of cult and myth; in Greek art it was an option resorted to only for definite reasons, when demanded by the subject, and, on the whole, seldom made use of. With Parthian art, on the contrary, frontality becomes the normal treatment of the figure. For the Parthians frontality is really nothing but the habit of showing, in relief and in painting, all figures full-face, even at the expense (as it seems to us moderns) of clearness and intelligibility. So systematic is this use that it amounts to a complete banishment de facto of the side-view and of all intermediate attitudes. This singular state of things seems to have become established in the course of the 1st century A.D.

Parthian art, with its distinct use of frontality in portraiture, was lost and abandoned with the profound cultural and political changes brought by the Sasanian Empire. However, even after the Roman occupation of Dura-Europos in 165 AD, the use of Parthian frontality in portraiture continued to flourish there. This is exemplified by the early 3rd-century AD wall murals of the Dura-Europos synagogue, a temple in the same city dedicated to Palmyrene gods, and the local Mithraeum.

Parthian architecture adopted elements of Achaemenid and Greek architecture, but remained distinct from the two. The style is first attested at Mithridatkert/Nisa. The Round Hall of Nisa is similar to Hellenistic palaces, but different in that it forms a circle and vault inside a square space. However, the artwork of Nisa, including marble statues and the carved scenes on ivory rhyton vessels, is unquestionably influenced by Greek art.

A signature feature of Parthian architecture was the iwan, an audience hall supported by arches or barrel vaults and open on one side. Use of the barrel vault replaced the Hellenic use of columns to support roofs. Although the iwan was known during the Achaemenid period and earlier in smaller and subterranean structures, it was the Parthians who first built them on a monumental scale. The earliest Parthian iwans are found at Seleucia, built in the early 1st century AD. Monumental iwans are also commonly found in the ancient temples of Hatra and perhaps modeled on the Parthian style. The largest Parthian iwans at that site have a span of 15 m (50 ft).