Symbolic images and iconographic analysis in the works of Osman Hamdi Bey

Osman Hamdi Bey, as one of the pioneers of Turkish painting, extensively incorporated elements of symbolism and iconography in his works, thereby endowing them with both visual and cultural meanings. This study examines five significant works of Osman Hamdi Bey within the framework of symbolism and iconography. The works analyzed in this study are The Mihrab (Genesis or Creation) (1901), The Harem (1905), The Coffeehouse (1904), The Dervish in the Tomb / Şehzade Mosque Tomb (1908), and The Woman Reading the Qur'an (1906). The study employs the artwork analysis method. This method allows for a detailed examination of the formal and contextual elements of art works. Using this approach, the symbolism and iconographic meanings in Osman Hamdi Bey's paintings were analyzed through both visual analysis and cultural-religious contextual interpretation. Iconography plays a particularly important role in the interpretation of religious and cultural themes. In The Mihrab, religious symbolism and iconographic elements are explained through the sacred function of the interior space containing the mihrab and the surrounding books. In The Harem and The Coffeehouse, iconographic elements symbolizing social structures and the psychological states of individuals take precedence. In The Dervish in the Tomb and The Woman Reading the Qur'an, spiritual symbolism and religious iconography are examined in depth through the poses of the figures and the symbols used. This study contributes to understanding the evolution of symbolism and iconography in Osman Hamdi Bey's art by revealing how the visual narratives in each work connect to cultural and religious codes, and by demonstrating how the artist masterfully employed these elements.