Names of Zeus: Ahura Mazda

Ahura Mazda, also known as Oromazes in Greek, was the form of Zeus worshipped in ancient Iran. He formed a triad with Anahita (Astarte-Demeter) and Mithra (Apollo) in the royal cult of the Iranian dynasty. Frequently, the trio are represented in statuary and carvings.

His name is formulated to mean ‘the light of the mind’ or ‘the means of the mind’, but there are one hundred and one other known titles to. Ahura Mazda epitomized the light and truth of the world. In the Iranian cosmology, he projected beams from the fiery firmament of the aether and crafted the known world out of blue stone, a parallel to the blue globe of Zeus.

It is known the Persians tended to worship outside rather than in temples, regarding fire as the closest emanation of the aether and the closest principle to Zeus. They tended to build religious sites at great elevations, showing the association of the Great God to the mountain peak and the highest consciousnesss.

AHURA MAZDA

Ahura Mazda was known to be engaged in battle with Ahriman, the representation of total darkness. This concept at core is similar to that of Hadad fighting the God of Death or the struggles of Zeus against Hades. This passed into an account of Plutarch where he goes into detail about Persian cosmology.

Herodotus frequently claimed that the Persians “call the whole circle of heaven Zeus” (Histories 1.131). He makes reference to how an empty chariot driven by four white horses on Persian military campaigns was equated to Zeus (Ahura Mazda) in solemnity. Strabo, on the other hand, equated Ahura Mazda directly with him.

Aristotle, according to Diogenes Laertius readings of his work, and Plutarch directly in his own works conceive of Persia as having a dualistic cosmology between the so called Oromasdes (Ahura Mazda) and Areimanius (Ahriman):

The matter is also commented on by Plutarch, who seems to parallel this with the myth of Osiris and Set, or Zeus and the Typhon:

Unfortunately, this kind of story that represents a spiritual allegory began to be taken literally in Persia, particularly among resentful and discordant classes during the Seleucid Empire. Ideas of the Gods began to degenerate into a pure story of moral dualism, where later issues during the Parthian and Sassanid eras began to make worshippers take prior imagery very literally. Iconoclasms also began in the Sassanid era.

Likewise, the teachings of the historical Zoroaster were altered and made into a dogmatic system of questionable quality over the aeons in Persia.

However, even within the scriptures of Zoroastrianism, certain associations with Zeus are blatantly obvious. The Yashts, later liturgical texts, elaborate on Ahura Mazda’s role as a protector and sovereign with potent imagery tied to the typical themes and images:

These hymns also introduce the concept of khvarenah (divine glory), a radiant force bestowed upon righteous kings and heroes. Ahura Mazda’s association with khvarenah legitimizes earthly rulers as his divine representatives.

LORD OF WISDOM

Much like the most common title of Marduk, Ahura Mazda means “the Lord of Wisdom.” In scriptures, passages such as Yasna 28–34 and Yasna 45–50 frequently address Ahura Mazda directly as the one who bestows Vohu Manah (the Good Mind), the faculty through which humankind can discern truth and live ethically. The names of Ahura Mazda reflect this concept:

He imparts wisdom to Zoroaster so the prophet can enlighten humanity on moral choice: to follow Asha (truth) or fall into Druj (ignorance). Zoroastrian tradition upholds that Ahura Mazda created the universe in accordance with Asha. This is the eternal law of truth and harmony. Wisdom is woven into the very fabric of creation.

GOD OF KING OF KINGS

The importance of this deity to Iran’s royal cult is extremely evident in inscriptions. Consistently a repetitious formula is used from the time of Darius I:

A great god is Ahura Mazda, who created this world, who created sky the world over, who created mankind, who created contentment for mankind, who made Darius king. One king for many, one leader of many.

The entire success of any Iranian monarch in rulership and prerogative was dependent on his will. The Behistun Inscription makes it clear that Ahura Mazda granted the kingdom to the King of Kings as the highest of Gods. The sheer breadth of the Persian Empire, shown as a highly cosmopolitan one of thirty peoples, was accredited to his intervention:

Darius the King of Kings says: By the favor of Ahura Mazda, these are the countries which I seized outside of Persia; I ruled over them, they bore tribute to me, they did what was said to them by me, they held my law firmly. Media, Elam, Parthia, Aria, Bactria, Sogdia, Chorasmia, Drangiana, Arachosia, Sattagydia, Gandara, India, the haoma-drinking Scythians, the Scythians with pointed caps, Babylonia, Assyria, Arabia, Egypt, Armenia, Cappadocia, Lydia, the Greeks, the Scythians across the sea, Thrace, the sun hat-wearing Greeks, the Libyans, the Nubians, the men of Maka and the Carians.

Darius the King of Kings says: Ahura Mazda, when he saw this earth in dispute, thereafter bestowed it upon me, made me king. I am king. By the favor of Ahura Mazda, I set the world In place; what I said to them, that they did, as was my desire. If now you should think that "How many are the countries which King Darius held?" Look at the sculptures of those who bear the throne, then shall you know, then shall it become known to you: the spear of a Persian man has gone forth far; then shall it become known to you: a Persian man has delivered battle far indeed from Persia.

Darius the King of Kings says: This which has been done, all that by the divine will of Ahura Mazda I did. Ahura Mazda bore me aid, until I accomplished the work. May Ahura Mazda protect me from harm, and my dynasty, and this land: this I pray of Ahura Mazda, this may Ahura Mazda give to me! O man, that which is the command of Ahura Mazda, let this not seem repugnant to you…. do not leave the right path… do not rise in rebellion!

Hieroglyphic inscriptions in the Egyptian language on a statue of Darius in Susa make the connection of the King of Gods to Atum and Amon obvious:

MILITARY IMPORTANCE

It is known from many of the sources such as Xenophon’s works the Cyropedia and Anabasis that the Persians persistently invoked Ahura Mazda with complex rituals before military engagements, similarly to how the Romans regarded Jupiter as an arbiter of military favor.

GEUSH URVAN AND BULL

One of the important symbolic motifs in the Yasna is the personification of the Cow’s Soul, referred to as Geush Urvan in the Gathas. “Geush” literally means “cow” (or sometimes “ox/cattle” more generally), and “Urvan” denotes “soul.” Thus, Geush Urvan represents the Soul of Creation or the Soul of the Living World. In the Gathas, this figure laments oppression and injustice, and calls out for a savior. The Zoroastrians believe the symbolism of the cow mirrors the oppression of truth and righteousness in the world.

While the “Cow” figure often embodies the living world or the oppressed creation seeking justice, the “Bull” is sometimes evoked as a generative force, symbolizing vitality, protection, and continuity of life. In certain passages, the Bull can appear as a beneficent power in line with Ahura Mazda’s creative energies, reinforcing life and abundance.

SYMBOLISM OF AHURA MAZDA

The Faravahar, the winged disc often hovering above royal figures, is a symbol of Ahura Mazda. The central human figure, adorned with a beard and regal attire, holds a ring of sovereignty, signifying divine endorsement and mastery of all circular forms of life.

As in the imagery of the Behistun Inscription above, Ahura Madra is continually depicted in a protective ring like that of the Shenu. He holds a ring in his left hand, demonstrating his mastery of eternity and the cosmos. At Naqsh-e Rustam, Darius I’s tomb depicts him receiving this ring from the deity, asserting his mandate to rule. Sometimes, this ring takes the form of a diadem presented to the ruler. His crown of a sphere within a trapezoidal formation represents the perfect rhythm of the circle within the four directions.

His right hand is raised in powerful gesture similar to that of Marduk. This gesture was known in Persia to represent the imperial prerogative. It is assumed that Babylonian and Egyptian image conventions had a strong influence on Ahura Mazda, however, it is also known from Greek accounts and from inscriptions that during the time of Darius and Xerxes, Ionian Greeks tended to make up the bulk of artisans in the Persian Empire.

The bidirectional wings and legs of the phoenix represent his encoding of the laws of Satya into reality. The symbol's wings and tail feathers denote spiritual ascent and supreme ethical balance.