Bird motif in ceramics of the Anatolian Seljuk period and its application to today's ceramic art

In Turkish mythology, human and animal relationships is a theme frequently encountered. There are many sources which state that animal figural motifs were used by the Anatolian Seljuks quite a lot. Animal figural motifs has been one of the important subjects which affected Turkish societies for centuries. Turks' close relations with animals due to their living conditions, has created many works of art. Many stylized animal figures were used by the Anatolian Seljuks. According to some beliefs, this animal style has emerged because of the tendencies towards the supernatural powers. In the line with these beliefs, they believed to reach spiritual values, magic and spell and to overcome the difficulties by this way. By taking heart this thought, they reflected immortality and power on their works. Many animal figures were used in decorative arts in the Anatolian Seljuks period. Bird, an important animal figure, was used and this figure has been the symbol of the term which we may call independence and soul. Bird is a creature which has been protected for generations. According to the beliefs, bird can be characterized as raising the hands to the sky. One reason for using bird many times in Anatolia is it is believed that soul of the dead is carried by a bird. Birds are believed to symbolize the relationships between earth and sky since they are flying beings. It is also believed that birds symbolize the immortals, spiritual lives, angels and the top floor and level of existence. At the same time, bird is the symbol of resistance of the earthly universe to the hereafter. The aim of this thesis is to transform the bird depictions, which are frequently used in Anatolian Seljuk period ceramics, into three-dimensional forms and to gain a different perspective with a contemporary interpretation. For this purpose, firstly, bird depictions from the Anatolian Seljuk period were researched and then new forms were created by enriching ceramic clay with additional materials in line with the data obtained. As a result, the use of bird depictions on ceramic surfaces from the past to the present is quite high. As a result of the findings of the research, two-dimensional bird depictions worked in the Anatolian Seljuk period were combined with threedimensional and different forms and made as personal applications. Keywords: Anatolian Seljuk Art, Ceramic Birds, Ceramic, Animal Style