Abstract
For the first time at the Young Archaeologists Conference in 2019, the newly discovered carving of a man riding a horse was introduced. Despite the importance of this newly discovered carving, apart from some scattered and vague comments, the discoverers of this work have not yet provided a proper and appropriate analysis, except that they have attributed it to one of the local kings of Persia - which king? During the Seleucid and Parthian periods. In the following article, we attempt to search to identity of the carving of the man riding a horse using a descriptive-analytical method and comparative study. In the meantime, several important questions arise: what was the reason for this carving next to the catacombs and the hunting ground? Was this carving carved in this place for a specific purpose? What is the real identity of this rider? Our hypothesis is based on the fact that this belongs to the god Mithra. Since the area of Hajiabad has long been a hunting ground and cemetery, it can be considered to be related to the beliefs of the people of Istakhr with this ancient Aryan god, who, incidentally, was partly associated with hunting and death, and both possibilities can be considered for the creation of this work in such an area. Also, our two proposed time periods for the two possibilities are one during the period of the third group of local Persian kings (around 50 BC to 100 AD) and the other is related to the late Sassanid period and the early Islamic period, i.e. between 550 and 700 AD. The importance of conducting this research can help researchers in presenting a picture of the god Mithra for further understanding of iconography and iconology as well as the function (duty) of this great and powerful god in the images obtained from him.
Keywords: Hajiabad, Marvdasht, Darre Bareh, Newly discovered image, Hunting ground, Mithra
 
Introduction
In 2019, three archaeologists named Abuzar Tavakol, Younes Zare, and Fazlollah Habibi from the Parse-Pasargad World Base identified a newly discovered carving in the Hajiabad region of Marvdasht. This carving was first introduced at the 9th Archaeologists’ Conference under the title of the Horseman Carving. Although no article has been published on this subject yet, the discoverers believe that it dates back to the Achaemenid period of Fars (local kings). By comparing the helmet of the carving and that of one of the local kings of Pars, as well as matching the type of clothing worn by the horseman and the needlework motifs in Parse, they suggest that this carving should be examined and researched in a royal context. Of course, after 4 years since the first report, no convincing and detailed analysis has been presented about this carving and which local king they had in mind. Our suggestion is that, considering the hunting area and cemetery context of the Haji-Abad area, the god Mithra is one of the greatest Aryan gods. Considering the powerful presence of this god among the Aryan-race governments of ancient Iran and also the characteristics of this role, it can be considered an image of Mithra.
 
Materials & Methods
The current research is based on Archaeological evidence and historical texts. In the following article, we intend to examine this role using a descriptive-analytical and comparative method. Since this role is newly discovered, there is no research background on it other than what was previously described.
 
Discussion & Result
If we do not consider Mehr as the greatest god of the Aryans, then, as Ahura Mazda tells Zarathustra in the Tenth Mehr Yasht, he (Mehr) is my equal in greatness and praise. By looking at the scope of duties of this powerful god, we understand more about his abilities and the vast scope of his power. Although the two characteristics of hunting and the world of the dead are less related to Mehr's main duties, it must be admitted that the mere presence and name of this god attracted the attention of the people, especially the nobility, elders, and kings, to these two parts. There are two reasons with two different dates for linking the newly discovered role of the rider in Hajiabad with Mehr. One is hunting and its connection with Mithra the Hunter, which, considering the very similar features (especially the similarity of the hat) to the role of Mithra the Hunter and in general the Mithra of the city of Dura, can be considered to be from the period of the local kings of Persia and the same time as the flourishing era of this city. In this case, we can think of cultural exchange through trade relations between the merchants, nobles and elders of the city of Istakhr with the prosperous city of Dura, especially during the Parthian period and the time of this dynasty's rule over this city. Perhaps the emergence of the character of Mithra the Hunter can be considered an innovation of the Parthian period.
 
Conclusion
The state of Pars was under their influence and rule throughout the years of Parthian rule and was undoubtedly influenced by the developments and, of course, the religious and religious freedoms of the central government. Of course, the riding Mithra in the newly discovered role of the rider in Haji Abad is not hunting. Our suggestion is only the existence of a symbolic image of this god as the lord of the hunting grounds and the role model of hunters, who were usually kings, royal families, and the nobility. The suggested time frame can be between 50 BC and 100 AD. Another reason that links the role of the riding man with Mithra is the issue of the afterlife. Although the presence of this god among the judges after death is considered related to the Avesta and later religious texts, we should not overlook this important point that one of Mithra's characteristics is revenge and killing liars (the seal of the dead) and covenant breakers, which directly links him to the issue of death. On the other hand, in the Mehr-worship religion, this god is the lord of the world of the dead and the one who separates good people from bad on the Day of Judgment. In addition, the influence of Mithraism on Zoroastrianism should not be ignored. Given this, and considering the very short distance between this carving and the six statues belonging to the elders and nobles of the city of Istakhr, the newly discovered carving can be considered to be connected to the world of the dead. If this assumption is correct, it should be dated to the last centuries of the Sassanid rule and the first centuries of Islam (between 550 and 700 AD), when the presence of the god Mehr as the great judge of the world of the dead and probably the lord of the sixth tier of heaven, called the "base sun", which was considered the true paradise of the Zoroastrians, was very colorful.