A Figurative Metal Drinking Bowl from the Qajar Period in the Erzurum Archaeology Museum

Nihat Sefa Komesli; Ayşe Duran

Makale detayları

A Figurative Metal Drinking Bowl from the Qajar Period in the Erzurum Archaeology Museum

Yazarlar:

Nihat Sefa Komesli | Ayşe Duran

Yayıncı:

Ege University

Ana Başlıklar:

Sanat Tarihi

Dergi:

Sanat Tarihi Dergisi Vol.34 Issue 1, pp.263-289

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001354651

pISSN:

1300-5707

Anahtar kelimeler:

Özet:

 In Turkish culture and art, metal artifacts emerged around 4000-1000 BCE, in Islamic art, they first appeared in the 7th century. Islamic metalwork entered its classical period in the 11th century with the influence of the Iranian school. This period also marks the time when the Seljuk Turks arrived in Iran. The Seljuks introduced new techniques and forms to metal art and included a wide range of compositions in their works. This level of advancement influenced various regions, including Iraq, Egypt, Syria, and Anatolia. In Iran, the Seljuk tradition of metal art was continued through the Timurid, Safavid, and ultimately the Qajar dynasties, a Turkish dynasty. One example of this tradition is the figurative metal bowl currently preserved in the storage of the Erzurum Archaeology Museum. No information regarding its production date or place is available on the bowl. However, upon examination, it was seen that the piece belongs to the Qajar metalwork school due to its decoration style and technical details. The piece features elements commonly found in Iranian metal art that starts from the Great Seljuk period, such as hunting scenes, hunters, animal combat scenes, dragons, composite animal figures, stylized vegetal motifs with rumi patterns, medallions, and vegetal background fillings. However, these criteria alone are insufficient for precise dating. During the 19th century, when the Qajar Dynasty ruled Iran, Western-style changes began to emerge. In this century, bilateral relations established with Europe had a significant influence not only politically and militarily but also on cultural life and artistic works. Metal art remained open to Western influences in its technique and decorative styles. European-style clothing and postures reflected in the figures, fantastical human figures not seen in Islamic art, imaginary creatures, and depictions reflecting the European grotesque style became widespread. The metal bowl in question also contains elements of these influences. Additionally, to determine the artifacts period, the technical details of Iranian metal art were examined. As well as being a common feature in Iranian metal art, the crosshatching style, first seen in the 14th century and gradually abandoned after the mid-18th century, has served as a key clue for dating the piece. To clarify this further, the methodology of the study consists of sections discussing the origins of Qajar metal art, the description of the artifact, stylistic analysis, and a review of the period. The study explores how Qajar metal art was shaped by the decorative traditions of the Seljuk period and the long-established Iranian heritage. It also examines the influence of European artistic styles, particularly the grotesque, and how the Qajars adapted this blend to their own artistic approach. Due to the reusability of metal, fewer examples of metal art have survived to the present day. Among these, the stylistic details of Qajar metal art remain insufficiently understood. Therefore, this study aims to introduce one of the few surviving figurative Qajar metal pieces to the academic world. Through this artifact, it also seeks to explore the stylistic features of Qajar metal art, characterized by its eclectic approach.

 In Turkish culture and art, metal artifacts emerged around 4000-1000 BCE, in Islamic art, they first appeared in the 7th century. Islamic metalwork entered its classical period in the 11th century with the influence of the Iranian school. This period also marks the time when the Seljuk Turks arrived in Iran. The Seljuks introduced new techniques and forms to metal art and included a wide range of compositions in their works. This level of advancement influenced various regions, including Iraq, Egypt, Syria, and Anatolia. In Iran, the Seljuk tradition of metal art was continued through the Timurid, Safavid, and ultimately the Qajar dynasties, a Turkish dynasty. One example of this tradition is the figurative metal bowl currently preserved in the storage of the Erzurum Archaeology Museum. No information regarding its production date or place is available on the bowl. However, upon examination, it was seen that the piece belongs to the Qajar metalwork school due to its decoration style and technical details. The piece features elements commonly found in Iranian metal art that starts from the Great Seljuk period, such as hunting scenes, hunters, animal combat scenes, dragons, composite animal figures, stylized vegetal motifs with rumi patterns, medallions, and vegetal background fillings. However, these criteria alone are insufficient for precise dating. During the 19th century, when the Qajar Dynasty ruled Iran, Western-style changes began to emerge. In this century, bilateral relations established with Europe had a significant influence not only politically and militarily but also on cultural life and artistic works. Metal art remained open to Western influences in its technique and decorative styles. European-style clothing and postures reflected in the figures, fantastical human figures not seen in Islamic art, imaginary creatures, and depictions reflecting the European grotesque style became widespread. The metal bowl in question also contains elements of these influences. Additionally, to determine the artifacts period, the technical details of Iranian metal art were examined. As well as being a common feature in Iranian metal art, the crosshatching style, first seen in the 14th century and gradually abandoned after the mid-18th century, has served as a key clue for dating the piece. To clarify this further, the methodology of the study consists of sections discussing the origins of Qajar metal art, the description of the artifact, stylistic analysis, and a review of the period. The study explores how Qajar metal art was shaped by the decorative traditions of the Seljuk period and the long-established Iranian heritage. It also examines the influence of European artistic styles, particularly the grotesque, and how the Qajars adapted this blend to their own artistic approach. Due to the reusability of metal, fewer examples of metal art have survived to the present day. Among these, the stylistic details of Qajar metal art remain insufficiently understood. Therefore, this study aims to introduce one of the few surviving figurative Qajar metal pieces to the academic world. Through this artifact, it also seeks to explore the stylistic features of Qajar metal art, characterized by its eclectic approach.

 In Turkish culture and art, metal artifacts emerged around 4000-1000 BCE, in Islamic art, they first appeared in the 7th century. Islamic metalwork entered its classical period in the 11th century with the influence of the Iranian school. This period also marks the time when the Seljuk Turks arrived in Iran. The Seljuks introduced new techniques and forms to metal art and included a wide range of compositions in their works. This level of advancement influenced various regions, including Iraq, Egypt, Syria, and Anatolia. In Iran, the Seljuk tradition of metal art was continued through the Timurid, Safavid, and ultimately the Qajar dynasties, a Turkish dynasty. One example of this tradition is the figurative metal bowl currently preserved in the storage of the Erzurum Archaeology Museum. No information regarding its production date or place is available on the bowl. However, upon examination, it was seen that the piece belongs to the Qajar metalwork school due to its decoration style and technical details. The piece features elements commonly found in Iranian metal art that starts from the Great Seljuk period, such as hunting scenes, hunters, animal combat scenes, dragons, composite animal figures, stylized vegetal motifs with rumi patterns, medallions, and vegetal background fillings. However, these criteria alone are insufficient for precise dating. During the 19th century, when the Qajar Dynasty ruled Iran, Western-style changes began to emerge. In this century, bilateral relations established with Europe had a significant influence not only politically and militarily but also on cultural life and artistic works. Metal art remained open to Western influences in its technique and decorative styles. European-style clothing and postures reflected in the figures, fantastical human figures not seen in Islamic art, imaginary creatures, and depictions reflecting the European grotesque style became widespread. The metal bowl in question also contains elements of these influences. Additionally, to determine the artifacts period, the technical details of Iranian metal art were examined. As well as being a common feature in Iranian metal art, the crosshatching style, first seen in the 14th century and gradually abandoned after the mid-18th century, has served as a key clue for dating the piece. To clarify this further, the methodology of the study consists of sections discussing the origins of Qajar metal art, the description of the artifact, stylistic analysis, and a review of the period. The study explores how Qajar metal art was shaped by the decorative traditions of the Seljuk period and the long-established Iranian heritage. It also examines the influence of European artistic styles, particularly the grotesque, and how the Qajars adapted this blend to their own artistic approach. Due to the reusability of metal, fewer examples of metal art have survived to the present day. Among these, the stylistic details of Qajar metal art remain insufficiently understood. Therefore, this study aims to introduce one of the few surviving figurative Qajar metal pieces to the academic world. Through this artifact, it also seeks to explore the stylistic features of Qajar metal art, characterized by its eclectic approach.

 Türk sanatında MÖ 4000-1000 dolaylarında görülen madeni eserlere, İslam sanatında 7. yüzyılda rastlanılmaktadır. İslam madenleri, klasik devrini 11. yüzyılda İran ekolüyle yaşamaya başlamıştır. Bu dönem aynı zamanda Selçukluların İrana geldikleri dönemdir. Selçuklular, maden sanatına yeni teknik ve formlar katmış, geniş kompozisyon dağarcığında eserler vermişlerdir. Bu gelişmişlik düzeyi Irak, Mısır, Suriye, Anadolu gibi farklı bölgelere tesir etmiş, İranda ise Timurlular, Safeviler ve Türk hanedanı Kaçarların maden sanatıyla Selçuklu geleneği devam ettirilmiştir. Bu örneklerden biri de Erzurum Arkeoloji Müzesi deposunda muhafaza edilen figürlü madeni kâsedir. Üzerinde dönem bilgisi bulunmayan eser, bezeme anlayışı ve teknik detaylarıyla Kaçar maden ekolüne aittir. İran madenlerinde Selçuklu ile başlayan; av, avcı, hayvan mücadele sahneleri, ejderler, rûmi merkezli bitkisel motifler gibi öğeler söz konusu eserde görülmektedir. Ancak tarihlemede bu kıstaslar yeterli değildir. 19. yüzyıl İran kültür ve sanat hayatı, Avrupa ile kurulan ikili ilişkilerden etkilenmiş, maden sanatı da bu etkilere açık kalmıştır. Figürlerde Avrupa tarzı kıyafetler, biçimler, İslam sanatında görülmeyen fantastik insan figürleri, hayali yaratıklar, Avrupa grotesk tarzını yansıtan tasvirler yaygınlaşmıştır. Konumuzu oluşturan kâse de bu etkilere sahiptir. Ayrıca 18. yüzyılın ortalarından itibaren terk edilmeye başlanan ve İran madenlerinin ortak özelliği olan tarama stili de eserin dönemini belirlemede yardımcı olmuştur. Bu durumu daha belirgin kılma amacıyla çalışma yönteminde; Kaçar maden sanatı, eserin tanıtımı, üslup ve dönemin tartışıldığı değerlendirme bölümünden oluşan başlıklar belirlenmiştir. Maden sanatı örnekleri, malzemenin yeniden kullanılabilir olmasıyla günümüze görece az sayıda ulaşan eserlerdir. Bunlar arasında Kaçar maden sanatı üslup detayları yeterince anlaşılamamış bir ekoldür. Bu açıdan çalışmada, günümüze az sayıda ulaşmış figürlü Kaçar madenlerinden birini ve bunun özelinde eklektik bir anlayışa sahip bu üslubu bilim dünyasına tanıtmak amaçlanmıştır.

Makale detayları

A Figurative Metal Drinking Bowl from the Qajar Period in the Erzurum Archaeology Museum

Yazarlar:

Nihat Sefa Komesli | Ayşe Duran

Yayıncı:

Ege University

Ana Başlıklar:

Sanat Tarihi

Dergi:

Sanat Tarihi Dergisi Vol.34 Issue 1, pp.263-289

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001354651

pISSN:

1300-5707

Metal Art

Qajar Dynasty

Great Seljuk Metalwork

Figurative Metal

Iranian Metal ArtMaden Sanatı

Kaçar Hanedanı

Büyük Selçuklu Madenleri

Figürlü Maden

İran Maden Sanatı.

Sayı

Makale detayları

Yazarlar: Nihat Sefa Komesli | Ayşe Duran

Yayıncı: Ege University

Ana Başlıklar: Sanat Tarihi

Dergi: Sanat Tarihi Dergisi Vol.34 Issue 1, pp.263-289

Belge Tipi: Makale

Yayın Tarihi: 7/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001354651

pISSN: 1300-5707

Sayı

Yazarlar:

Nihat Sefa Komesli | Ayşe Duran

Yayıncı:

Ege University

Ana Başlıklar:

Sanat Tarihi

Dergi:

Sanat Tarihi Dergisi Vol.34 Issue 1, pp.263-289

Belge Tipi:

Makale

Yayın Tarihi:

7/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001354651

pISSN:

1300-5707