Plaster Statues of Seljuk

The Seljuks, a Turkic dynasty of Central Asian nomadic origins, became the new rulers of the eastern Islamic lands following their defeat of the powerful Ghaznavids at the Battle of Dandanakan (1040). By 1055, the Seljuks had reached Baghdad, established themselves as the new protectors of the Abbasid caliphate and Sunni Islam Within fifty years, the Seljuks created a vast though relatively short-lived empire, encompassing all of Iran, Iraq, and much of Anatolia. By the close of the eleventh century, as the Seljuk realm became troubled due to internal conflicts and the division of the realm among heirs, the empire dissolved into separate territories governed by different branches of the dynasty. The main branch of the Seljuk house, the so-called Great Seljuks, maintained control over Iran. Under the Seljuk sultanate, Iran enjoyed a period of material and cultural prosperity, and the ingenuity in architecture and the arts during this period had a notable impact on later artistic developments.The Seljuk cultural and artistic efflorescence continued well beyond the sultanate's political influence. Turkic Seljuk rulers adopted and supported local Perso-Islamic traditions, and Seljuk art is recognized for weaving together Persian, Islamic, and Central Asian–Turkic elements. During this period, the arts of Iran gained distinction in the Islamic world. On the other; architecture and specific sculpture are unique in complex of Iranian Seljuk arts. One of the main and most important states in the realm of sculpture art forms related to "plaster sculptures" made ​​during the "Seljuk" is. The statues in Islamic art history (especiallybefore the advent of Islam in Iran) quite important because comprehensive and accurate information about the Islamic Seljuk art and sculpture are obtained. In addition to its many statues of Seljuk architecture and buildingdesigns and related synthetic techniques, and also designs and arrays persistent origin and transformed in Islamic art show. Also, to answer some of the questions are related to the art of sculpture in Iran after Islam.Stucco sculptures in the genealogies and histories of Seljuk art are obsolete. This is the kind of perfection that even a clear example and embodied the, in capacities including handy - Industrial Islamic civilization has been neglected and unpopular. So these examples that are opposed to the idea of ​​the "iconography ban" Sharia and Islamic jurisprudence have been considered in Islamic civilization by artistic –industrial capacities (of this art).There are amount of noteworthy plaster statues of Seljuks era that show this art has been developed without any resistant.This research is a descriptive –analytical and deductive methods and check history position of plaster statues of Seljuk art.Also this study with the introduction of samples and production techniques attempt to achieve its realplace in Iran art history.This research introduces local, national, and native symbols used in statues and plaster works and how to review the form influenced by other cultures deals.Seljuks plaster statues are live identifying of aesthetics and artistic crafts from one of the most influence period of IranianIslamic civilization.