After the achaemenids the image of the faravahar disappears from persian art 是在阿切曼尼的法拉瓦哈肖像从波斯艺术消失之后。
2.
These same achaemenids also adopted assyrian and babylonian motifs for their monumental art , including the winged disc 同样是这些阿切曼尼人也采用了阿述和巴比伦的图案作为他们的纪念碑艺术，包括有翼的圆盘。
3.
The persian faravahar is carved on the rock - cut tombs of the achaemenid kings at bisetoon in iran , and varies from one carving to the other 波斯人的法拉瓦哈图案雕刻在石制的阿切曼尼国王坟墓上，位于伊朗的贝撒顿里，这些雕刻各有不同。
4.
But it is in the carvings of persepolis , center of the achaemenid dynasty , that the faravahar reaches its most elaborate and finely wrought perfection 但在波斯波利斯，阿切曼尼王朝的中心地带的雕刻品上，法拉瓦哈达到最精致的地步，细微的地方也被雕刻得完美。
5.
By the time of the achaemenid kings ( dynasty flourished from about 600 b . c . to 330 b . c . ) , then , the design that would become the faravahar had already been in use for at least 1000 years , from egypt to syria and then to assyria 阿切曼尼国王们的时代（公元前600年至公元前330年繁荣的朝代） ，当时将会变成法拉瓦哈的图案已经使用了至少1000年，从埃及到亚述，然后是叙利亚都有。
6.
The ring which is held in the achaemenid faravahar ' s hand is still used in sassanian art to depict the royal diadem , which is handed to the new king by the symbolic representation of ahura mazda himself or by the yazata ( guardian spirit ) of waters , anahita 阿切曼尼法拉瓦哈手上持有的环状物仍然使用在萨珊艺术里，去描绘皇室的王权，给予新国王是对阿胡玛兹达本身和亚扎塔（水，阿拿希塔的守护灵魂）的象征性描绘。
