The Seljuk Han of Anatolia

Decorative Elements 

The decoration of hans can be exceedingly rich, and follows the general inventory of design elements used in Seljuk architecture. However, hans display several typical design characteristics that are somewhat different than the other monuments of the era:

• Decoration is restricted to the main entry door to the han. This is to attract attention to the travelers coming from afar, and to denote a sense of grandeur. The portal comprises a rectangular frame with geometric ornament, enclosing a triangular arch filled with carved stalactite decor (known as muqarnas) over the entry door itself. There can also be inscriptions or other motifs.

• The outer walls are reinforced with solid side turrets and corner towers, which lend an aura of strength and security

• There is less use of tile than in other Seljuk monuments. It appears to be restricted to the mihrabs in the sultan hans. The underglaze tiles are usually in octagonal, star or cruciform shapes, with the colors of blue (cobalt and turquoise) and green predominating, although purple, black and white can be seen. The vast decorative repertory and techniques seen on the Seljuk tiles used to decorate medreses (angels, animal and human figures, mythical creatures, painted on a single tile before firing) is usually not present in the hans, where ceramic tile is used to comprise geometric and vegetal patterns, fill and borders

• Calligraphy is limited to the inscription plaques.  In its role as the vehicle communicating the word of God as revealed in the Koran, calligraphy is an important art in the Islamic sphere.  The writing style on the inscription plaques is usually in the bold, blocky and imposing kufic style, which is more suitable for stone carving than the smaller, cursive and more intimate thuluth style

• Carved animal figures or heads serve as gargoyle water spouts, and are often the only decoration on the outside of the han walls

• There is a predominant use of stone carving, especially on the portals. The technique of sculpture in high- and low-relief encourages the vibrant and lively play of light and shadow on the building walls.  The vast repertory of decorative elements in the stonework include:

The Anatolian Seljuk state brought together elements of the diverse cultures that comprised the complex cultural and historical mosaic of 12-13th century Anatolia.  The Central Asian, Arab, Turkoman, Byzantine, Greek, Georgian, Kurdish and Armenian cultures constituted the medley of political, social and artistic ingredients melded together in the Seljuk cauldron. The origin and symbolism of the highly complex set of decorative elements of the Seljuk Anatolian era undoubtedly comes from the many religious traditions of the Turks prior to their conversion to Islam.  These include:

Totemism: this religion, predominant among the Turkic tribes before their conversion to Islam, is characterized by a belief in a kinship between an individual and a chosen "totem", which could be either animal, plant or another object. This object became the symbol of the person or his family. Common totems chosen were wolves, snakes, horses, fish, birds (notably hawks and eagles), lions and trees. This tradition is still subconsciously a part of Turkish life today (sacredness of the wolf, horse and lion, traditions of hanging ribbons in trees, the wearing of the blue bead, etc). The animals, especially the lion, seen in stone carvings and on textiles, stem from this tradition of an animal-centered culture.  Animals, especially horses, played a large part in the life of the early Seljuks.

Shamanism is a form of religion characterized by the belief that the unseen world of gods, supernatural forces, ancestral spririts and demons is made manifest on earth through shamans, or priest-doctors, who use magic to communicate with them. The shamans wore horsetails during their ceremonies, and this tradition was maintained by the Janissary leaders. The double-headed eagle, which was used as a symbol of the Seljuk state (particularly by Alaeddin Keykubad) is believed to originate with shamanistic Turkoman beliefs.  It is derived from a part eagle-part owl figure, and was replicated by many dynasties throughout the 10-15th centuries.  This extremely popular dynastic symbol passed on to Byzantium, Sicily, and various European states (Austro-Hungarian and Russian Empires).  Another shamanistic device, the shining sun face, was taken by Giyaseddin Keyhusrev II as his dynastic symbol.

Işak Baba, the shaman priest who led a serious civil revolt during the reign of Giyaseddin Keyhüsrev II, showed the hold the beliefs of this religion still maintained over the population. The tree of life motif (seen on the Çifte Medrese in Erzurum, the Döner Kumbet in Kayseri and on Seljuk fabrics) has its origins in shamanism, as well as stars and other astrological elements often seen in han portals.
 

In addition, the Seljuks incorporated many design elements from the cultures encountered along their way:

• from the Christianity of the Byzantines and Armenians: angels, reuse building stones and capitals

• the Chinese: the dragons seen at Karatay, Susuz, Sultan Han Kayseri

• Egyptian art: sphinxes

• Greek art: centaurs, minautaurs and geometrical elements

• The Indian subcontinent: the swastika (Susuz, Ağzıkara, Pazar, Sultan Han Kayseri ) and the surprising elephants seen at Karatay Han frieze and on the famous stone carving now housed in the Ince Minare Museum in Konya.
  
  
  
   

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