A Section from a Sect Culture: Watermelon and Watermelon-Knife Depictions in Ottoman Architectural Decoration
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Abstract
A group of watermelon and watermelon-knife depictions on the walls and ceilings of some buildings in the capital and the provinces during the Ottoman period constitute an interesting group with their iconography as well as their style. Watermelon depictions are depicted with other fruits in the form of a still life, in a Western style, and generally in an appetizing way in the palaces and mansions of the capital, as well as in the dining rooms of some large residences in the provinces. The focus of this study is the depictions of watermelon or knives stuck in watermelon slices found in mosques, tombs, dervish lodges and mansions in which the cult members live in some provincial provinces of Anatolia and the Balkans, where the sects are concentrated.
In general, a cut-off watermelon and a knife/knives form the main painting elements of these compositions. In some examples, this main composition is depicted in the landscape, on a table, coffee table or column, or scattered over the surface with folded branches and leaves reminiscent of an orchard. This diversity of depictions expresses the richness of the artists' design worlds, as well as the changes in the verbal culture of the sect narratives in different regions.
Besides being a part of the food and beverage culture in the Turkish world since Central Asia, watermelon has also been the source of riddles, lullabies, chansonnettes, dream interpretations and some other beliefs in Thrace and Anatolia. In addition, watermelon appears in several mythical narratives in cult circles. These narratives, especially in the circles that adopted the Alevi-Bektashi belief, were engraved on the walls of the structures belonging to the cult elders who worshiped, made ablutions, resided or buried in these structures and were immortalized in this way.
Some of the artists who were probably members of the sect are mentioned in these paintings. These depictions were made between the 18th and 20th centuries with the humble and naive style of folk art.
Keywords: Watermelon, Watermelon-knife, Sect, Symbol, Folk Art, Ottoman Art of Depiction, Iconography.
In general, a cut-off watermelon and a knife/knives form the main painting elements of these compositions. In some examples, this main composition is depicted in the landscape, on a table, coffee table or column, or scattered over the surface with folded branches and leaves reminiscent of an orchard. This diversity of depictions expresses the richness of the artists' design worlds, as well as the changes in the verbal culture of the sect narratives in different regions.
Besides being a part of the food and beverage culture in the Turkish world since Central Asia, watermelon has also been the source of riddles, lullabies, chansonnettes, dream interpretations and some other beliefs in Thrace and Anatolia. In addition, watermelon appears in several mythical narratives in cult circles. These narratives, especially in the circles that adopted the Alevi-Bektashi belief, were engraved on the walls of the structures belonging to the cult elders who worshiped, made ablutions, resided or buried in these structures and were immortalized in this way.
Some of the artists who were probably members of the sect are mentioned in these paintings. These depictions were made between the 18th and 20th centuries with the humble and naive style of folk art.
Keywords: Watermelon, Watermelon-knife, Sect, Symbol, Folk Art, Ottoman Art of Depiction, Iconography.