Discovered in Kalgah Zarin, southwest Iran, by the Iranian Oil Company, this statue is a significant find that was accompanied by a hoard of Seleucid and Parthian coins.

Stylistic evidence points to its production in an Elymaean workshop, part of a known artistic tradition that produced the statues of Bard-e Neshandeh and Masjed Soleyman. Through analysis of its sculptural techniques and form, scholars have attributed its creation to a period between the mid-1st century BC and the late 2nd century CE.

Being kept at the National Museum of Iran, this finely carved limestone figure depicts a man with distinct, stylized features: short, tightly curled hair arranged in semicircular ringlets, large, arresting eyes, and a long, pointed nose complemented by a full beard and mustache. His posture is one of reverence. His right arm is bent at the elbow, hand raised with an open palm in a classic gesture of worship, while his left arm hangs at his side, clasping a vegetal element—likely a palm frond or sacred branch, a common attribute for worshippers in the Parthian world.

His attire offers a remarkable glimpse into Elymaean culture. He wears a knee-length, round-necked tunic with long sleeves, cinched at the waist by a simple belt. Over this, a long, twisted sash or shawl is draped over his shoulder, falling across his chest and down his back. A fascinating detail is the rectangular object fastened to his belt, featuring holes and a ring. This is interpreted as a ceremonial key, designed to be inserted into a lock plate. The sculptor paid careful attention to the drapery, carving parallel vertical folds that break into U and V shapes below the belt to elegantly follow the contours of the body's anatomy.

Although the lower legs and knees are lost to time, evidence of the statue's construction remains. Two small holes with traces of iron rods beneath the tunic indicate that the legs were crafted separately and attached with metal supports—a sophisticated technique for the period. Based on comparable figures, it is almost certain he would have been shown wearing the long trousers characteristic of Parthian dress.

Ultimately, this statue is a powerful example of a widespread artistic and religious tradition. The raised right hand and open palm are a familiar motif in the art of late Parthian-era Mesopotamia, identifying him unequivocally as a worshipper. Through its exquisite craftsmanship and iconic pose, the figure provides a direct and tangible connection to the spiritual practices and artistic conventions of the ancient Elymaean people.

The Elymaeans, a semi-independent state frequently under Parthian domination, thrived from the 2nd century BCE to the early 3rd century CE in the rugged Zagros Mountains of southwestern Iran (Khuzestan). The Elymaeans were likely descendants of the ancient Elamites, worshipping a syncretic blend of Semitic and traditional Elamite deities, which is reflected in their distinct artistic and cultural identity. Renowned for their wealthy temples, which even Seleucid kings attempted to plunder, they controlled vital trade routes and maintained a persistent autonomy despite Parthian hegemony. Their kingdom was a vibrant crossroads, blending local traditions with Hellenistic and Parthian influences. The political history of Elymais, known from classical sources and numismatic evidence, is one of shifting alliances and recurring conflicts with the Seleucid and Parthian empires. This statue of a worshipper is a direct product of that sophisticated and unique culture. The final end of the Elymaean kingdom came in approximately 221 CE when it was conquered by the Sasanian king Ardashir I, marking the end of its distinct political identity and its absorption into the highly centralized Sasanian Empire.

AM