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Susa I period (4200–3800 BC)

Shortly after Susa was first settled over 6000 years ago, its inhabitants erected a monumental platform that rose over the flat surrounding landscape. The exceptional nature of the site is still recognizable today in the artistry of the ceramic vessels that were placed as offerings in a thousand or more graves near the base of the temple platform.

Susa's earliest settlement is known as the Susa I period (c. 4200–3900 BC). Two settlements named by archaeologists the Acropolis (7 ha) and the Apadana (6.3 ha), would later merge to form Susa proper (18 ha). The Apadana was enclosed by 6 metre thick walls of rammed earth (this particular place is named Apadana because it also contains a late Achaemenid structure of this type).

Nearly two thousand pots of Susa I style were recovered from the cemetery, most of them now in the Louvre. The vessels found are eloquent testimony to the artistic and technical achievements of their makers, and they hold clues about the organization of the society that commissioned them. Painted ceramic vessels from Susa in the earliest first style are a late, regional version of the Mesopotamian Ubaid ceramic tradition that spread across the Near East during the fifth millennium BC. Susa I style was very much a product of the past and of influences from contemporary ceramic industries in the mountains of western Iran. The recurrence in close association of vessels of three types—a drinking goblet or beaker, a serving dish, and a small jar—implies the consumption of three types of food, apparently thought to be as necessary for life in the afterworld as it is in this one. Ceramics of these shapes, which were painted, constitute a large proportion of the vessels from the cemetery. Others are coarse cooking-type jars and bowls with simple bands painted on them and were probably the grave goods of the sites of humbler citizens as well as adolescents and, perhaps, children. The pottery is carefully made by hand. Although a slow wheel may have been employed, the asymmetry of the vessels and the irregularity of the drawing of encircling lines and bands indicate that most of the work was done freehand.