The Anubanini rock relief, located in Sarpol-e Zahab, represents the oldest rock monument in Iran. Carved on the rock of Kooh-e-Badir (Mount Badir or Batir), this monument commemorates the triumph of the local Lulobi ruler and serves to immortalize the ceremonial exercise of power by the goddess Ishtar. Additionally, this artwork reflects a form of artistic expression prevalent in ancient Iran around 2000 BC. Approximately 1,500 years later, the story depicted in the Anubanini relief served as an inspiration for a subsequent victory monument, which was carved on the Bisotoun Mountain by order of Darius the Great. This study has examined the progression and transformation of human clothing and associated adornments from the Lulubi period to the beginning of the Achaemenid period, employing a comparative methodology. It has also considered the various factors that influenced changes in the clothing of ancient civilizations during the time span between these two rock reliefs. This research is essential in its objectives and employs a historical methodology for the interpretation and analysis of data. The findings have been derived from library studies, utilizing historical analyses to explore the two primary topics of the research. Initially, the historical and visual attributes of the Anubanini and Bisotoun reliefs have been articulated, focusing on the similarities in narrative themes and symbols. A comparative analysis has further examined the differences in clothing depicted in the two reliefs from various perspectives. Ultimately, the research concludes with a reference to the influence of the culture and art associated with the civilizations that produced these two reliefs, thereby fulfilling the research objectives of this paper.
Keywords: Clothing, Rock Relief, Anubanini, Sarpol-e Zahab, Mount Bisotoun
 
Introduction
Despite the investigation and comparative studies of these two reliefs, by some scholars, the investigation and comparison of clothing in these two historical works has not been addressed or it has not been considered as essential. Archeological evidence such as the Victory Stele of Naramsin (about 2250 BC) can be helpful in understanding the Lulobi clothing. According to this piece, Anubanini's clothing is similar to that of the Akkadian king. Also, the horned helmet of the goddess Ishtar is similar to the Naramsin helmet, and this is indicative of the influence of Mesopotamian culture and art on the clothing of Lulobis. The type of clothing of Lulobi men depicted in the Naramsin Stele indicates to some extent that Lulobis wore a skirt-like dress with animal skin on the shoulder.
       Following the migration of the Medes and Persians to the Iranian plateau, their cultural practices and clothing were shaped by the indigenous populations, influenced by the region's geography and climate. Consequently, the clothes worn by the Western Medes in the first millennium BC represent an evolved version of Lulobis and Manayian clothes. Historical records from the Assyrian kings, spanning the 9th to 7th centuries BC, indicate that the clothing of Median men was crafted from sheep or cheetah skins, tailored into specific cuts, which they donned over wool or cotton shirts, secured with a belt. During the early Achaemenid period, the Median court officials typically wore trousers, a robe with a belt, and a felt hat. This style of dress for them, similar to that of the Persians, is frequently depicted in the reliefs at Persepolis. The Achaemenid initially adopted Median clothing due to its aesthetic appeal and sophistication. However, following their conquests of Mesopotamian and Egyptian civilizations, and the travels of kings and nobles to their newly acquired territories, significant alterations occurred in the clothes of the populace, particularly among the nobilities and royalties, culminating in the creation of the Persian robe. This dress, influenced by Median, Mesopotamian, and Greek artistic traditions, was developed during Cyrus's reign. Darius the Great later designated the Persian robe as the official ceremonial dress of the Achaemenids, as evidenced by the Bisotoun relief, where Darius is depicted wearing this Persian clothing during a formal ceremony celebrating his triumph over adversaries and rebels. This long garment is characterized by its multi-layered design and Persian embellishments.
 
Discussion
A comparison of the garments depicted in the reliefs of Anubani from Sarpol-e Zahab and Dariush from Bisotoun reveals notable visual and material differences in the clothing, in addition to variations in form. The Lulobis crafted their clothes from sheep and goat hides, as well as from fine spun wool and cotton, taking into account their environmental and climatic conditions. Through trade and travel to Mesopotamia, the Medes gradually acquired knowledge of advanced weaving techniques and spinning tools from the Assyrians and Babylonians, leading to their proficiency in textile production. Consequently, the refined fabrics produced by the Medes attracted numerous buyers from neighboring regions and beyond. Long before the Medes, Assyrian traders had been exporting woolen and cotton textiles manufactured in Babylon to Anatolia. During the Achaemenid period, Iran's textile industry gained renown for its production of soft woolen and cotton fabrics. The Persians also had access to silk, which was sourced from China and reached the Iranian plateau via the Silk Road. Silk textiles gained popularity during the Achaemenid period. The simple felt hat worn by Anubani indicates that the Lulubis were skilled in the art of felting; however, there is no evidence of crowns or diadems in Lulubian artifacts. As a result, Darius’s creation of the crenate diadem reflects influences from Neo-Assyrian and Babylonian cultures, marking a significant advancement in the regalia of Achaemenid rulers.
The evolution in the design and material of headgear, transitioning from the felt hat of Anubanini to the golden diadem of Darius in Bisotoun, reflects a shift in the perception of the Achaemenid kings. During this era, opulent and elongated garments, along with the adornment of a crown or diadem featuring crenate, served as emblems of royal authority and triumph, as well as a representation of the monarch's divine connection.
       Archaeological evidence, including sculptures and seal impressions, has provided insights into the clothing of women in Medan and Persia, particularly those associated with the court. The Assyrian reliefs from Nineveh depict the forced migration of women, revealing that they typically wore their hair and faces uncovered, with dresses extending to their ankles. The evolution from simple attire to more elaborate, long, and wide garments is exemplified by a bronze statue of a woman in the shape of a kohl container, dating back to the 8th-9th century BC. Additionally, Achaemenid seal motifs illustrate court ladies adorned in Persian pleated dresses characterized by wide, long sleeves. Consequently, the design and structure of clothing for both Persian men and women during this period exhibited notable similarities.
 
Conclusion
When examining the clothes of the goddess Ishtar depicted in the Anubanini relief, it becomes evident that this piece represents the fundamental clothing style of that era. Over time, the simplistic and minimalistic garments of ancient tribes evolved into the more ornate and fully covered attire characteristic of the Achaemenid period. The visual elements and decorative motifs present in the clothing of the Bisotoun relief draw inspiration from both the Anubanini relief and Neo-Assyrian artistic traditions. Notably, the diadem worn by Darius, adorned with an eight-pointed flower, mirrors the headbands previously utilized by Assyrian and Babylonian monarchs, which featured similar designs. Additionally, the eight-pointed star, prominently displayed above the Anubanini relief, symbolizes divine assurance of victory over adversaries. This same emblem is echoed in the commemoration of Darius's triumph in Bisotoun, where it appears above the three-horned helmet of Ahura Mazda, encircled by an eight-pointed star. Furthermore, there exists a resemblance between the long-horned helmet of Ahura Mazda and the helmet worn by the goddess Ishtar in the Anubanini petroglyph. In conclusion, these parallels can be traced back to the religious beliefs of ancient Iranians, which, even 1500 years after the creation of the Anubanini relief, continued to manifest in the artistic expressions of the Achaemenid period, particularly in symbols associated with warfare and victory.