AN ESSAY ABOUT "KIRKBUDAK" CANDELABRUMS
| dc.contributor.author | Harman, Mürüvet | |
| dc.date.accessioned | 2025-01-27T19:04:13Z | |
| dc.date.available | 2025-01-27T19:04:13Z | |
| dc.date.issued | 2019 | |
| dc.department | Çanakkale Onsekiz Mart Üniversitesi | |
| dc.description.abstract | The Bektashi order has a concentrated world of symbols compared to other orders. It is even known that the belief of the order is transferred through symbols to the person who entering the road. For this reason, all object which belongs to the order is loaded with multi-layered and covert meanings. One of these is cerags, which is an integral part of rituals, referring to many concepts such as light, creation and enlightenment. The most emphasized in the publications about cerags are kirkbudaks which are dated the second half of the 18th century and the 19th century and are described as candelabrum. In the mentioned studies, the information about the place, shapes, dimensions, decoration characteristics and styles of the kirkbudaks in the belief of order are presented. However, their intense meanings have not been studied in detail. In this study, it has been attempted to create a reading about the multi-layered symbolism of the kirkbudaks. First of all, this has been focused on the decoration elements instead of the style or the periods in which they were produced. Symbols of bird, lion, hand, dragon, crown, flower which appear on the kirkbudaks were investigated one by one and especially their place in Bektashi faith was examined. In addition, one, twelve and forty numerical values were evaluated in the same way. It was examined why kirkbudaks are located in Kirklar Square and Balim Sultan Tomb, and in which ceremonies they are used. Finally, kirkbudaks were reviewed with a holistic perspective. As a result of the study, it is understood that the kirkbudaks, which are in the late Ottoman order works, should not be considered only as a religious furniture. Again, the kirkbudaks are not just an illumination tool; it was found that they reflect the Bektashi faith directly in the context of their appearance, decoration elements, places and rituals. © 2019 Celestinesca. All rights reserved. | |
| dc.identifier.endpage | 80 | |
| dc.identifier.issn | 0579-4080 | |
| dc.identifier.issue | 28 | |
| dc.identifier.scopus | 2-s2.0-85077886486 | |
| dc.identifier.scopusquality | Q4 | |
| dc.identifier.startpage | 55 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.12428/13864 | |
| dc.indekslendigikaynak | Scopus | |
| dc.language.iso | tr | |
| dc.publisher | Istanbul Universitesi | |
| dc.relation.ispartof | Sanat Tarihi Yilligi | |
| dc.relation.publicationcategory | Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı | |
| dc.rights | info:eu-repo/semantics/closedAccess | |
| dc.snmz | KA_Scopus_20250125 | |
| dc.subject | Bektashi order; Kirkbudaks; place; ritual; symbolism | |
| dc.title | AN ESSAY ABOUT "KIRKBUDAK" CANDELABRUMS | |
| dc.title.alternative | KIRKBUDAK ŞAMDANLAR ILE ILGILI BIR DENEME | |
| dc.type | Article |
