Elymais constituted an autonomous governing entity characterized by a distinctive artistic expression during the Parthian epoch. The precise delineation of the territorial expanse under the sway of this tribal authority has remained elusive to date, owing to the persistent fluidity of boundaries. However, in broad terms, the jurisdiction of this regional administration can be ascertained as extending from the northern and western reaches of Khuzestan to Chaharmahal and Bakhtiari Province, eastward to Kohgiluyeh and Boyer-Ahmad province, and southward to the Persian Gulf. Among the most significant and notable artifacts attributable to this culture are the distinctive rock engravings, or petroglyphs, located in the Zagros (Bakhtiari) mountains. These petroglyphs depict scenes pertaining to the political and religious activities of kings, princes, and local rulers of this society, showcasing a unique manifestation of Parthian artistry. A notable ensemble of such petroglyphs can be observed at Tang-e Sarvak, situated to the north of Behbahan city And in kohgiluyeh and Boyer-Ahmad province. These works, dating back to the first through third centuries AD, were unearthed and initially introduced to the scholarly community by the 19th-century Russian explorer, Baron Si Dubaud. Within this intricate composition, situated at the uppermost tier to the northeast, we encounter a standalone rock bearing the carved likeness of an Elymais prince. This tableau is replete with depictions of human and animal figures, intertwined with decorative elements, all flanked by two inscriptions rendered in both four and five lines of Aramaic script, devoid of any discernible regional accents or dialectical distinctions. Its temporal origin is firmly rooted in the second century AD. The task of decoding these inscriptions was undertaken by Henning in the year 1952. According to the textual content of these inscriptions, the central figure in the tableau is identified as Prince Erodos of Elymais, who is depicted grasping a ring in his hand. Within this composition, Erodos reclines upon an ornate throne supported by bases adorned with motifs that appear to bear semblance to eagles, mythological fowl, and doves. Accompanying these motifs are three figures that are posited as representations of deities, likely pertaining to Semitic, Greek, and Persian pantheons. This relief, characterized by its simplicity and lack of intricate detailing, comprises motifs imbued with symbolic significance, the true meaning of which lies concealed within. Hence, the inquiry into the underlying import of these motifs within this artwork seeks to discern the cognitive and visual paradigms inherent to this society. This investigation adopts an iconological approach, drawing from Erwin Panofsky's method, with the aim of unraveling the latent meanings of the work across multiple dimensions of thought, culture, politics, religion, and art within Elymais society. This research proceeds through three successive levels of analysis: the pre-iconographic description, which pertains to the fundamental and inherent subject matter of forms; the iconographic analysis, delving into the secondary subject matter and the established conventions of the motifs, enabling the interpretation of their meanings by referencing the texts, allegories, and citations related to the work; and finally, the iconological interpretation, which delves into the profound dimensions of meanings and concealed contents enshrined in the motifs of this work, exploring the realms of philosophical, religious, cultural, and political thought within Elymais society.
This research reveals that the prevailing ethos within the Elymais community reflects a confluence 
of influences from the intellectual, artistic, and cultural spheres of Mesopotamia and Elam, Greece, and Iran, coupled with indigenous elements intrinsic to the Elymais belief system and worldview. Notably, the petroglyphs appear to have served a dual role, both political and propagandistic, in the governance of this society. In light of these findings, it is plausible to interpret this artwork as a piece of propaganda and a political tableau commissioned by the ruling authority. Its purpose appears to be the endorsement and promotion of the various religions venerated in the region, strategically employed to garner the support and favor of the populace, leveraging prevailing intellectual and religious convictions that shape the society. The presence of the ring, prominently displayed in the artwork, symbolizes the authority and influence wielded by the rulers in the presence of Semitic, Greek, and Persian deities.
This research is grounded in a foundational framework, employing the iconological approach. The study has undertaken a comprehensive examination and analysis of the subject matter across three distinct levels: descriptive, analytical, and interpretive. The information necessary for this investigation has been gathered from a compendium of authoritative sources, including library materials, textual references, visual resources, and authenticated scholarly documents.