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Islam came to Anatolia 1000 years ago. For the majority of time since then, there has been peace between Muslim and Christian Anatolians. We can be still be at peace.
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Muslim cleric and Armenian priest united in all but headgear
Monday, September 15, 2008
A ceramic jug produced in Kütahya in the 18th century displays the figure of an Armenian priest and a Muslim cleric standing side by side, embracing each other as a symbol of friendship
Vercihan Ziflioğlu
Turkish Daily News
The Islamic call to prayer and the tolling of church bells have echoed together on Anatolian lands for centuries. Peoples of different ethnicities, cultures and faiths once lived in peace on Ottoman territory before a sense of nationalism grew and undermined the tradition of fraternity.
But a ceramic jug dating back to the 18th century remains as a small symbol of that co-existence and brotherhood.
The unique jug, a secret treasure, is item No. 6 in a permanent collection, titled “Kütahya and Ceramics,” displayed at the Pera Museum. The exhibition was founded in the name of Suna Kıraç and İnan Kıraç in 2005. The ceramic jug, attracting attention with its strong colors and figures, is the most precious piece in the collection.
As Turks and Armenians look for ways to overcome past trauma and achieve reconciliation, the ceramic jug, produced 300 years ago in the Kütahya province of Turkey, offers a message of peace. The jug displays figures of an Armenian priest and a Muslim cleric standing side-by-side, shoulder-to-shoulder and embracing each other. The two religious figures differ from one another only in their headgear. The Christian cleric wears a black hat, as the Muslim cleric wears a white turban.
Edine Süleymanoğlu, who is responsible for the collection, spoke to the Turkish Daily News regarding the piece. Süleymanoğlu said Armenian craftsmen's works were the first examples of the art of ceramics in Anatolia.
Asked how one can identify that the Christian figure displayed on the jug was an Armenian priest, Süleymanoğlu said, “It is quite clear. The way he dresses and the type of headgear he wears reflect typical priest's attire in Armenian culture.”
Turkish-Islamic vs Armenian ceramics
The art of ceramics first emerged in the Anatolian region in the late 16th century. Masterpieces of ceramic art were produced in the prominent provinces of İznik and Kütahya.
“Ceramics produced in İznik were mostly used in palaces and mosques. But those produced in Kütahya became part of people's daily life,” Süleymanoğlu said. Armenian craftsmen produced the best examples of ceramics in Kütahya, she noted.
“Armenian craftsmen passed onto Turkish craftsmen the fine points of the art of ceramics and tips on making details and figures,” she added.
What differentiate the Turkish-Islamic art of ceramics from the Armenian art of ceramics are the dominant images.
“Islamic art restricts displaying figures. That is the reason Islamic works of ceramics display motifs of flowers, trees, birds and angels. But the Armenian art of ceramics mainly used figures of angels, saints, Jesus Christ and the Virgin Mary as well as figures representing nature and daily life,” she said.
Kütahya's ceramics take their color from nature
Ceramics produced in Kütahya differ from those traditionally produced in İznik in terms of the vibrancy of their colors. “Kütahya is located in the middle of Anatolia and has a rich floral landscape. Colors used in ceramics are extracted from nature,” said Süleymanoğlu.
She said the jug was attractive because it had strong colors and was decorated with details as well as various figures. Its motifs represent both Turkish-Islamic and Christian-Armenian art.
Süleymanoğlu highlighted the image of unity presented by the two figures standing side-by-side:
“In the Ottoman tradition, that type of hugging, in which one of the arms comes over one of the shoulders of the person hugged, is a symbol of friendship. If a priest and a Muslim cleric – top level figures in two big religions – are so close to each other, this is definitely proof of friendship between the Christian and Muslim peoples.”
Süleymanoğlu drew the attention to the headgear worn by the figures of the Armenian priest and the Muslim cleric as another symbol of the similarities between the two peoples. “In both Islam and Christianity, heads should be covered before God. Thus, both figures on the jug have covered heads.”
----------------------------------------------------
Muslim cleric and Armenian priest united in all but headgear
Monday, September 15, 2008
A ceramic jug produced in Kütahya in the 18th century displays the figure of an Armenian priest and a Muslim cleric standing side by side, embracing each other as a symbol of friendship
Vercihan Ziflioğlu
Turkish Daily News
The Islamic call to prayer and the tolling of church bells have echoed together on Anatolian lands for centuries. Peoples of different ethnicities, cultures and faiths once lived in peace on Ottoman territory before a sense of nationalism grew and undermined the tradition of fraternity.
But a ceramic jug dating back to the 18th century remains as a small symbol of that co-existence and brotherhood.
The unique jug, a secret treasure, is item No. 6 in a permanent collection, titled “Kütahya and Ceramics,” displayed at the Pera Museum. The exhibition was founded in the name of Suna Kıraç and İnan Kıraç in 2005. The ceramic jug, attracting attention with its strong colors and figures, is the most precious piece in the collection.
As Turks and Armenians look for ways to overcome past trauma and achieve reconciliation, the ceramic jug, produced 300 years ago in the Kütahya province of Turkey, offers a message of peace. The jug displays figures of an Armenian priest and a Muslim cleric standing side-by-side, shoulder-to-shoulder and embracing each other. The two religious figures differ from one another only in their headgear. The Christian cleric wears a black hat, as the Muslim cleric wears a white turban.
Edine Süleymanoğlu, who is responsible for the collection, spoke to the Turkish Daily News regarding the piece. Süleymanoğlu said Armenian craftsmen's works were the first examples of the art of ceramics in Anatolia.
Asked how one can identify that the Christian figure displayed on the jug was an Armenian priest, Süleymanoğlu said, “It is quite clear. The way he dresses and the type of headgear he wears reflect typical priest's attire in Armenian culture.”
Turkish-Islamic vs Armenian ceramics
The art of ceramics first emerged in the Anatolian region in the late 16th century. Masterpieces of ceramic art were produced in the prominent provinces of İznik and Kütahya.
“Ceramics produced in İznik were mostly used in palaces and mosques. But those produced in Kütahya became part of people's daily life,” Süleymanoğlu said. Armenian craftsmen produced the best examples of ceramics in Kütahya, she noted.
“Armenian craftsmen passed onto Turkish craftsmen the fine points of the art of ceramics and tips on making details and figures,” she added.
What differentiate the Turkish-Islamic art of ceramics from the Armenian art of ceramics are the dominant images.
“Islamic art restricts displaying figures. That is the reason Islamic works of ceramics display motifs of flowers, trees, birds and angels. But the Armenian art of ceramics mainly used figures of angels, saints, Jesus Christ and the Virgin Mary as well as figures representing nature and daily life,” she said.
Kütahya's ceramics take their color from nature
Ceramics produced in Kütahya differ from those traditionally produced in İznik in terms of the vibrancy of their colors. “Kütahya is located in the middle of Anatolia and has a rich floral landscape. Colors used in ceramics are extracted from nature,” said Süleymanoğlu.
She said the jug was attractive because it had strong colors and was decorated with details as well as various figures. Its motifs represent both Turkish-Islamic and Christian-Armenian art.
Süleymanoğlu highlighted the image of unity presented by the two figures standing side-by-side:
“In the Ottoman tradition, that type of hugging, in which one of the arms comes over one of the shoulders of the person hugged, is a symbol of friendship. If a priest and a Muslim cleric – top level figures in two big religions – are so close to each other, this is definitely proof of friendship between the Christian and Muslim peoples.”
Süleymanoğlu drew the attention to the headgear worn by the figures of the Armenian priest and the Muslim cleric as another symbol of the similarities between the two peoples. “In both Islam and Christianity, heads should be covered before God. Thus, both figures on the jug have covered heads.”
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