Faravahar

The Farāvahār (Avestan: 𐬟𐬀𐬭𐬎𐬎𐬀𐬵𐬀𐬭𐬀; Persian: فَرْوَهَر), also called the Foruhār (فروهر) or the Fārre Kiyâni (فرّ کیانی), is one of the most prominent symbols of Zoroastrianism. There is no universal consensus on what it means or stands for, as a variety of interpretations exist. The most common belief is that it depicts the fravaṣ̌i (𐬟𐬭𐬀𐬎𐬎𐬀𐬴𐬌), which is the Zoroastrian concept of one's personal spirit.

Rooted in ancient Near Eastern tradition, the Faravahar was especially prevalent in the Achaemenid Empire, correspondingly appearing in many works of Achaemenid architecture. Although it was originally religious in nature, it has also become a secular and cultural symbol among Iranian peoples (mostly Persians and Kurds, as well as secular and cultural Zoroastrians), having been popularized in this capacity after the Muslim conquest of Persia and the subsequent fall of Sasanian Empire.

More recently, the Faravahar and other aspects of the Zoroastrian religion were at the forefront of a campaign by the Pahlavi dynasty to revive the pre-Islamic Iranian identity. Since the Islamic Revolution in 1979, it has remained a common and popular symbol among the Iranian community, particularly the diaspora.

The New Persian word فروهر is read as foruhar or faravahar (pronounced as furōhar or furūhar in Classical Persian). The Middle Persian forms were frawahr (Book Pahlavi: plwʾhl, Manichaean: prwhr), frōhar (recorded in Pazend as 𐬟𐬭𐬋𐬵𐬀𐬭; it is a later form of the previous form), and fraward (Book Pahlavi: plwlt', Manichaean: frwrd), which was directly from Old Persian *fravarti-. The Avestan language form was frauuaṣ̌i (𐬟𐬭𐬀𐬎𐬎𐬀𐬴𐬌).

The pre-Zoroastrian use of the symbol originates as the winged sun used by various powers of the Ancient Near East, primarily those of Ancient Egypt and Mesopotamia. The Zoroastrian adoption of the symbol comes from its prevalence in Neo-Assyrian iconography. This Assyrian image often includes their Tree of Life, which includes the god Assur on a winged disk.

The faravahar was depicted on the tombs of Achaemenid kings, such as Darius the Great (r. 522–486 BC) and Artaxerxes III (r. 358–338 BC). The symbol was also used on some of the coin mints of the frataraka of Persis in the late 3rd and early 2nd BC centuries. Even after the Arab conquest of Iran, Zoroastrianism continued to be part of Iranian culture. Throughout the year, festivities are celebrated such as Nowruz, Mehregan, and Chaharshanbe Suri which relate to Zoroastrian festivals and calendar. These are remnants of Zoroastrian traditions. From the start of the 20th century, the faravahar icon found itself in public places and became a known icon among Iranians. The Shahnameh by Ferdowsi is Iran's national epic and contains stories (partly historical and partly mythical) from pre-Islamic Zoroastrian times. The tomb of Ferdowsi (built early 1930), which is visited by numerous Iranians every year, contains the faravahar icon as well.

Whilst being used by both Zoroastrians and Iranians, the symbol is originally neither Zoroastrian nor Iranian nor Persian in its origin. It originates as a Mesopotamian Assyrian depiction of the winged deity Assur. After the Achaemenian dynasty, the image of the faravahar was not yet present in much of Persian art or architecture. The Parthians, Sassanians, and Islamic kings that followed did not use the image. It was not until the 20th century,^{[citation needed]} over 2000 years later,^{[citation needed]} that the symbol re-emerged thanks to the work of Parsi scholar, Jamshedji Maneckji Unvala, who published two articles in 1925 and 1930.

Unvala's work was disputed by Irach Jehangir Sorabji Taraporewala, who refuted the idea that the winged figure represented Ahura Mazda. Taraporewala suggested that the figures used in Persian reliefs were meant to depict khvarenah or royal glory to reflect the perceived divine empowerment of kings, and, therefore, has no true spiritual meaning. This view was later supported by Alireza Shapour Shahbazi and Mary Boyce.