The Symbolism of Light and the Metal Candlesticks in Topkapi Palace

Aslı Büyükkal; Fatih Özkafa

Makale detayları

The Symbolism of Light and the Metal Candlesticks in Topkapi Palace

Yazarlar:

Aslı Büyükkal | Fatih Özkafa

Yayıncı:

Ataturk University

Ana Başlıklar:

İslam Sanatları | Görsel Kültür

Dergi:

Palmet Dergisi Issue 8, pp.1-9

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001359465

pISSN:

2822-3551

Anahtar kelimeler:

Özet:

 Lamps, shaped according to the cultural and geographical characteristics of the societies to which they belong, are among the valuable works of art that stand out with their material diversity and richness of design. In addition to their lighting function, lamps representing the concept of nūr within religious symbolism have gained significant meaning in Islamic art under the influence of verses and hadiths. Especially their depiction together with verse 35 of Surah al-Nūr emphasizes the deeply symbolic aspect of these works. In this context, in Islamic civilization, lamps and other lighting devices were regarded not only as physical sources of light but also as symbols of divine light and wisdom. Lamps, especially those placed in religious buildings such as mosques, tombs, and dervish lodges, were considered elements that enhanced the spiritual atmosphere of worship spaces. The lamp motif, frequently used on tombstones as a tool illuminating the path of the deceased, also appears as a decorative element in miniatures, painted ornamentation kalem işi, carpets, and prayer rugs. Therefore, examining both the aesthetic and symbolic dimensions of lamps contributes to a better interpretation of the artistic and cultural understanding of the period. Furthermore, many thinkers developed profound ideas about light and its source, and as a result of these reflections, attempts were made to reveal how spiritual perceptions were shaped in a tangible form through the lamp. Among the tabarrukāt items sent to the Ḥujrah al-Saʿādah and Rawḍah al-Muṭahharah, hanging lamps had an important place; eleven of these lamps, brought to Istanbul by the Defender of Medina, Fahreddin Pasha, and now in the Treasury section of the Topkapı Palace collection, have been examined in this study in detail in terms of material, form, ornamentation, and technical features. Reflecting the development process of Turkish metal art, these lamps hold an important place in terms of aesthetics and technique and constitute a valuable source for understanding developments in Turkish art.

 Lamps, shaped according to the cultural and geographical characteristics of the societies to which they belong, are among the valuable works of art that stand out with their material diversity and richness of design. In addition to their lighting function, lamps representing the concept of nūr within religious symbolism have gained significant meaning in Islamic art under the influence of verses and hadiths. Especially their depiction together with verse 35 of Surah al-Nūr emphasizes the deeply symbolic aspect of these works. In this context, in Islamic civilization, lamps and other lighting devices were regarded not only as physical sources of light but also as symbols of divine light and wisdom. Lamps, especially those placed in religious buildings such as mosques, tombs, and dervish lodges, were considered elements that enhanced the spiritual atmosphere of worship spaces. The lamp motif, frequently used on tombstones as a tool illuminating the path of the deceased, also appears as a decorative element in miniatures, painted ornamentation kalem işi, carpets, and prayer rugs. Therefore, examining both the aesthetic and symbolic dimensions of lamps contributes to a better interpretation of the artistic and cultural understanding of the period. Furthermore, many thinkers developed profound ideas about light and its source, and as a result of these reflections, attempts were made to reveal how spiritual perceptions were shaped in a tangible form through the lamp. Among the tabarrukāt items sent to the Ḥujrah al-Saʿādah and Rawḍah al-Muṭahharah, hanging lamps had an important place; eleven of these lamps, brought to Istanbul by the Defender of Medina, Fahreddin Pasha, and now in the Treasury section of the Topkapı Palace collection, have been examined in this study in detail in terms of material, form, ornamentation, and technical features. Reflecting the development process of Turkish metal art, these lamps hold an important place in terms of aesthetics and technique and constitute a valuable source for understanding developments in Turkish art.

 Lamps, shaped according to the cultural and geographical characteristics of the societies to which they belong, are among the valuable works of art that stand out with their material diversity and richness of design. In addition to their lighting function, lamps representing the concept of nūr within religious symbolism have gained significant meaning in Islamic art under the influence of verses and hadiths. Especially their depiction together with verse 35 of Surah al-Nūr emphasizes the deeply symbolic aspect of these works. In this context, in Islamic civilization, lamps and other lighting devices were regarded not only as physical sources of light but also as symbols of divine light and wisdom. Lamps, especially those placed in religious buildings such as mosques, tombs, and dervish lodges, were considered elements that enhanced the spiritual atmosphere of worship spaces. The lamp motif, frequently used on tombstones as a tool illuminating the path of the deceased, also appears as a decorative element in miniatures, painted ornamentation kalem işi, carpets, and prayer rugs. Therefore, examining both the aesthetic and symbolic dimensions of lamps contributes to a better interpretation of the artistic and cultural understanding of the period. Furthermore, many thinkers developed profound ideas about light and its source, and as a result of these reflections, attempts were made to reveal how spiritual perceptions were shaped in a tangible form through the lamp. Among the tabarrukāt items sent to the Ḥujrah al-Saʿādah and Rawḍah al-Muṭahharah, hanging lamps had an important place; eleven of these lamps, brought to Istanbul by the Defender of Medina, Fahreddin Pasha, and now in the Treasury section of the Topkapı Palace collection, have been examined in this study in detail in terms of material, form, ornamentation, and technical features. Reflecting the development process of Turkish metal art, these lamps hold an important place in terms of aesthetics and technique and constitute a valuable source for understanding developments in Turkish art.

 Kandiller, ait oldukları toplumların kültürel ve coğrafi özelliklerine bağlı olarak şekillenmiş, malzeme çeşitliliği ve tasarım zenginliğiyle öne çıkan değerli sanat eserleri arasında yer almaktadır. Aydınlatma işlevinin yanı sıra, dini sembolizm içinde nûr kavramını temsil eden kandiller, ayet ve hadislerin etkisiyle İslâm sanatında önemli bir anlam kazanmıştır. Özellikle Nûr Suresinin 35. ayeti ile birlikte tasvir edilmeleri, bu eserlerin derin anlamda sembolik yönünü vurgulamaktadır. Bu bağlamda, İslam medeniyetinde kandiller ve diğer aydınlatma araçları, yalnızca fiziksel bir ışık kaynağı olmanın ötesinde, ilahi nurun ve hikmetin bir sembolü olarak kabul edilmiştir. Özellikle camiler, türbeler ve tekkeler gibi dini yapılar içinde konumlandırılan kandiller, ibadet alanlarının manevi atmosferini güçlendiren unsurlar olarak değerlendirilmiştir. Ölünün yolunu aydınlatıcı bir araç olarak mezar taşlarında da sıkça kullanılan kandil motifi, aynı zamanda minyatürlerde, kalem işi süslemelerde, halılarda ve seccadelerde de motif olarak karşımıza çıkmaktadır. Dolayısıyla, kandillerin hem estetik hem de sembolik boyutlarını incelemek, dönemin sanatsal ve kültürel anlayışını daha iyi yorumlamaya katkı sunmaktadır. Ayrıca birçok mütefekkir ışık ve kaynağı üzerine derin fikirler geliştirmiş; bu düşünceler neticesinde, manevi kavrayışların somut bir unsur olarak kandil üzerinde nasıl şekillendiği ortaya konulmaya çalışılmıştır. Hücre-i Saâdet ve Ravza-i Mutahharaya gönderilen teberrükât eşyaları arasında önemli bir yeri olan askı kandiller, Medine Müdafii Fahreddin Paşanın İstanbula getirdiği ve Topkapı Sarayı Hazine bölümü koleksiyonunda yer almakta olup, bu çalışmada on bir adet askı kandil malzeme, form, süsleme ve teknik özellikleri detaylı şekilde incelenmiştir.Türk madeni sanatının gelişim sürecini yansıtan bu kandiller, estetik ve teknik açıdan önemli bir yere sahip olup, Türk sanatındaki gelişmeleri anlamada önemli bir kaynak niteliğindedir.

Makale detayları

The Symbolism of Light and the Metal Candlesticks in Topkapi Palace

Yazarlar:

Aslı Büyükkal | Fatih Özkafa

Yayıncı:

Ataturk University

Ana Başlıklar:

İslam Sanatları | Görsel Kültür

Dergi:

Palmet Dergisi Issue 8, pp.1-9

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001359465

pISSN:

2822-3551

Topkapı palace

lamp

light

symbolism

metal artTopkapı sarayı

kandil

ışık

sembolizm

maden sanatı

Sayı

Makale detayları

Yazarlar: Aslı Büyükkal | Fatih Özkafa

Yayıncı: Ataturk University

Ana Başlıklar: İslam Sanatları | Görsel Kültür

Dergi: Palmet Dergisi Issue 8, pp.1-9

Belge Tipi: Makale

Yayın Tarihi: 9/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001359465

pISSN: 2822-3551

Sayı

Yazarlar:

Aslı Büyükkal | Fatih Özkafa

Yayıncı:

Ataturk University

Ana Başlıklar:

İslam Sanatları | Görsel Kültür

Dergi:

Palmet Dergisi Issue 8, pp.1-9

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001359465

pISSN:

2822-3551