User:Jcwagner6/Seljuk stucco figures

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The Seljuk stucco figures are stucco (plaster) figures found in the region of the Seljuk Empire, from its "golden age" between the 11th and 13th centuries. They decorated the inner walls and friezes of Seljuk palaces, together with other ornamented stucco ornaments, concealing the wall behind them. The figures were painted bright-colored and often gilded. They represented royal figures and were symbols of power and authority.

History of figural stone reliefs[edit]
Figural stone reliefs on Seljuk sacred architecture in Anatolia refer to the decorative carvings and sculptures found on buildings constructed during the Seljuk period in Anatolia, which is present-day Turkey.(citation needed) The Seljuk Turks, a Central Asian Turkic people, played a significant role in the history of the region during the medieval period, and their architectural legacy is notable.

During the Seljuk period (11th to 13th centuries), the Turks embraced Islam and established a powerful empire that extended from Central Asia to the Middle East. In Anatolia, the Seljuks left behind numerous architectural monuments, including mosques, madrasas (educational institutions), caravanserais (roadside inns), and tombs.(citation needed)

Figural stone reliefs on Seljuk sacred architecture often depict a variety of themes, including religious and geometric motifs, as well as representations of human and animal figures.(citation needed) However, it's essential to note that the use of figural representation in Islamic art has varied across different periods and regions due to religious considerations. In many cases, Islamic art tends to avoid the direct representation of human and animal figures, focusing instead on intricate geometric and floral designs.

Despite the general avoidance of figurative representation, some Seljuk monuments in Anatolia feature figural stone reliefs. These reliefs can be found on elements such as doorways, mihrabs (prayer niches), and tombstones. The figures portrayed in these reliefs may include scenes from daily life, mythical creatures, or even human and animal representations.

Some famous examples of Seljuk architecture in Anatolia with figural stone reliefs include the Karatay Madrasa in Konya and the Sahabiye Medrese in Kayseri. These reliefs not only serve as decorative elements but also provide insights into the artistic and cultural influences of the time.

Islamic art of Seljuk[edit]
The Seljuks were a Turkic dynasty of Central Asian nomadic origins, who became the new rulers of the eastern Islamic world after defeating the Ghaznavids in the Battle of Dandanaqan, and the Buyid dynasty. Following these victories, the Seljuks established themselves as the new patrons of the Abbasid Caliphate and Sunni Islam. In only half-a-century, the Seljuks managed to create a vast empire encompassing modern Iran, Iraq, and much of Anatolia. Under the Seljuks, Iran enjoyed a period of cultural prosperity. Multitudes of architecture and arts were developed during the period, and influenced later artistic developments in the region and the surrounding.(area?)

In ceramics, fine motifs were created in underglaze painting, luster decorations, and polychrome painting. Metal objects were decorated with inlays of silver and gold. The Seljuks developed many figurative motifs with a frequent depiction of animals, men, and women. An anthropomorphic representation of figures are not rare at all in the Muslim culture. Whereas iconic image in holy places e.g. mosques are strictly forbidden, in secular places, depiction of figures are common.

Other forms of Seljuk art are discussed in the page on the Seljuk Empire.

Seljuk palaces[edit]
All the Seljuk palaces are now in ruins. Excavations indicate that these palaces had once been decorated with tiles and with stucco wall reliefs of geometric patterns and figures. In Lashgari Bazar, a ruin of former Ghaznavid period palace, polychrome frescoes depicting 44 soldiers were found decorating the lower floor of the audience hall. They all have similar round faces and almond-shaped eyes, traditionally associated with the Turks of Central Asia.

The stucco figures would have decorated similar royal palaces in the audience hall or the royal court. They were found decorating large palaces of the Seljuk sultans, or smaller royal courts of the local vassals or successors. The stucco figures may be part of larger stucco geometric ornamentation which conceals the base wall behind it. One example of stucco figures in complete form comes from the late 12th century Rey, which depicts the enthroned Seljuk Sultan Tughril II (1194) surrounded by his officers. Similar examples were found in Bast, Afghanistan, in Samarkand, and in Uzbekistan. These were painted in bright colors of red, blue, black, and gilded with gold. The dark room in the palace where they were placed means that this figure needs to stand out as much as possible.

Meaning[edit] This section must have citations - where is this info coming from?
Persian Islamic stucco sculpture, like many forms of Islamic art, often carries rich symbolic and cultural meanings. Stucco is a material composed of plaster, water, and other additives that, when applied to a surface, hardens into a durable, smooth finish. In Islamic art, stucco has been widely used for architectural decoration, especially in the intricate ornamentation of buildings such as mosques and palaces.

Geometric Patterns: Geometric patterns in Persian Islamic stucco sculpture are often symbolic of the infinite and divine order in the universe. The precision and complexity of geometric designs reflect the Islamic concept of tawhid (the oneness of God) and the idea that geometric patterns can convey the beauty and harmony of the cosmos.

Floral and Vegetal Motifs: Floral and vegetal motifs are common in Persian Islamic art, symbolizing life, growth, and the natural world. They also serve as a reminder of the paradise described in Islamic literature, with gardens filled with lush vegetation. These motifs often reflect a deep connection to nature and the divine.

Calligraphy: Arabic calligraphy is a prominent feature in Islamic art, including stucco sculptures. Quranic verses or other religious texts may be inscribed in the artwork, emphasizing the importance of language and the word of God. The intricate and artistic rendering of calligraphy adds a layer of aesthetic beauty to the religious significance.

Muqarnas: Muqarnas, a type of ornamental vaulting often seen in Persian Islamic architecture, represents a complex interplay between geometry and three-dimensional design. It symbolizes the multifaceted nature of reality and the intricate layers of the divine. The depth and complexity of muqarnas also reflect the intellectual and artistic achievements of the Islamic civilization.

Historical and Cultural Narratives: Some stucco sculptures depict historical and cultural narratives, telling stories from Islamic history or showcasing the achievements of a particular dynasty or ruler. These narratives serve to educate, inspire, and reinforce a sense of identity and continuity.

Color Symbolism: Colors in Persian Islamic stucco sculptures may carry specific meanings. For example, blue might symbolize spirituality and transcendence, while green is often associated with nature and paradise. The use of gold and other rich colors may denote wealth and divine illumination.

Symbolism in Animal and Human Figures: While Islamic art generally avoids the depiction of human and animal figures, when present, they may carry symbolic meanings. For example, images of animals could represent qualities like strength or loyalty, while human figures might symbolize spiritual concepts or historical figures.

The meanings behind Persian Islamic stucco sculpture are often deeply rooted in Islamic theology, philosophy, and cultural traditions. They reflect the artist's attempt to convey spiritual, aesthetic, and cultural messages through the intricate details and symbolism embedded in the artwork.

Form[edit]
Stucco or plaster is a soft, cement-like water-based material that is easy to carve when dry and mold when still wet. Its lightness makes it easy to affix to walls. Many 12th-century stucco figures survived in pristine condition because of the preserving dryness of the desert where they were found. Seljuk stucco figures were painted in bright colors of blue (powdered lapis lazuli), red (powdered ruby), and black colors, and were gilded with gold.

The figures were representations of power. In a royal palace setting, they represent figures related to the power of the empire, e.g. royal guards, royal viziers, courtiers or amir. Warrior figures were depicted as clutching swords. They wear rich colored caftans, trousers, tiraz bands, and long boots. Royal figures were depicted wearing crowns. The two figures in the Metropolitan Museum of Art in New York are wearing crowns, one figure is wearing the winged crown, an ancient symbol of authority which was first recorded in a 3rd century Sasanian coins. All of the Seljuk stucco figures have round faces with typical high cheekbones and almond-shaped eyes, known as the Turkic moon face, which reflect the indicating the Turkic and Mongol ethnic type. The stucco figures were usually displayed in a pomp and circumstance setting, enhancing the actual ceremonies that took place in the room where the figures were set.