The wall-paintings uncovered in the Sogdian city of Panjikent, which for the most part date back to the first half of the eighth century, are the earliest certain illustrations of the Iranian epos. The most famous among these is undoubtedly the so-called" Rostam room," which was decorated with scenes from the exploits of the greatest Iranian hero-Rostam, celebrated in the Shãh-nãma. 2 However, the archaeologists from the Hermitage Museum who have excavated at Panjikent for more than sixty years have discovered several other paintings that have also been recognized as depicting scenes from heroic epic tales but whose exact subject and possible connections with the Iranian epos recorded in the classical Persian literature have remained unknown. In this article, I would like to suggest that one of these wall-paintings found in room 50/XXHI depicts scenes from the epic stories about Rostam's son, Farāmarz. Room 50/XXm, where the paintings were found during the 1978-1979 excavations, was part of a vast household that covered an area of 862.5 m2 (fig. 1). Room 50 is of a rectangular shape (7.2 x 3.65 m). Together with other adjacent rooms, it originally belonged to an earlier house, which was rebuilt and incorporated into the new, large household, preserving some original walls. 3 This reconstruction and the paintings date from around 740, when the city was recovering after it was sacked and burned by the Arabs in 722. At a later stage, two sufas (benches) were installed along the westem and the eastern walls, covering the lower edge of the paintings. The large area covered by this household seems to indicate that it was probably owned by one of the leaders of the Panjikent urban community {naf) f Due to its modest dimensions, room 50/XXm was not a main reception hall but was used instead to host a limited circle of people and was probably reserved for special occasions and/or for special purposes. It is interesting to note that the adjacent room 49/XXm, which provided the only access to room 50/XXHI, was not painted. One can imagine that guests were first received in room 49/XXffl, where the main part of the recep-tion and the banquet took place, before being led into room 50/XXm. It is tempting to suggest that the latter was used as illustrations for reciting the epic depicted on its walls, as we think was the case with the epic paintings in Panjikent houses. 5 The fragments of the paintings were preserved on all four walls. Most of them were taken down in 1979 and transported to the Hermitage Mu-seum in St. Petersburg, where they are currently kept. The paintings of the western wall are exhibited in the National Museum of Tajikistan in Dushanbe. Unfortunately, since then only some scenes have been completely restored; the others still await the clearing and restoration process, which will undoubtedly reveal more details. The following description is based on two excavation reports of 1978 and 1979, 6 on two entries in the catalogue Drevnosti Tadzhikistana, 7 on drawings and discussion by Boris Marshak in his 2002 volume, 8 the color photos published in the vol. 15 of the Japanese History of World Art, 9 and on my personal examination of the two restored fragments in the Hermitage Museum. 10 The walls in the room were framed by a sculptured clay relief that displays floral motifs and figures standing under arches. The paintings covered the entire surface of the walls, bordered by these sculptured friezes. The background of the painting was blue, but on most fragments it has blackened. On the northern wall the artist depicted the image of the great Sogdian goddess Nana seated on a recumbent lion and the figures