We found a match
Your institution may have access to this item. Find your institution then sign in to continue.
- Title
TÜRK-İSLAM KÜLTÜRÜNDEKİ DESTİMAL GELENEĞİ İLE HRİSTİYAN İNANCINDAKİ KUTSAL MENDİL İKONOGRAFİSİNİN KARŞILAŞTIRILMASI.
- Authors
SOLAK, Nergiz DEMİR; BERKLİ, Yunus
- Abstract
While the items left behind after death are commemorated with the memory of the deceased and kept by their relatives, in case of the death of an important person, it is seen that these items are attributed to a larger audience based on the place the person has in the society. In all religions, objects associated with the sacred are valued. The materialization of the sacred and its worldly appearance are generally examined in four main groups: Holy places, holy times, holy beings (persons) and holy objects. These sacred objects, in other words, the Sacred Relics, of which great care is taken to be preserved, are highly respected by the society. It is seen that the objects considered sacred in religions are considered as binding on the society. The most important example of this was in the Ottoman Empire between the thirteenth and nineteenth centuries. It is the Destimal Tradition that has become traditional for centuries. In the Destimal Ceremony held in the Topkapı Palace, towels called destimal are distributed by the Ottoman Sultan during the visit to the Hırka-i Saadet, which is repeated on the fifteenth of Ramadan every year. It can be said that these destimals, which are sanctified in terms of providing the opportunity to touch the sacred, integrate with it and bring it into life, constitute a social iconography. According to one of the narrations describing the birth of the holy towel iconography in the Christian faith; King Abgaros V of Edessa (Urfa) fell ill with an incurable disease. In the same period, he heard the name of Jesus. Thinking that he can cure his illness, he assigns someone to paint his picture. It is believed that the towel / cover that he gives to the person who wants to paint the picture of Jesus, wipes his sweat and puts his face on it. The most important feature of the depiction on the cover, which is known to be the source of the works in which Jesus is visualized by considering the original, is the belief that it heals the sick. The image, which is believed not to have been made by human hands, has gained respect due to its miraculous creation process. Destimal marks cardigan, while cardigan emphasises the Prophet Muhammad and Hagion Mandylion marking Jesus. While carrying the traces of cardigan and destimal contact, when it comes to holy towel, image is added to it. From this point of view, the belief that the depiction of Jesus appeared ‘without human touch’, that ‘miraculously’, differentiates its nature. In this study, the “Holy Towel” (Hagion Mandylion), which is included in the Christian faith and is accepted as the first icon by researchers, and the “Destimal-i Şerif” towels, which we see transformed into a ceremony by the state in the Turkish-Islamic tradition, are compared iconographically and the common and different aspects of the two iconographies. These towels, which are attributed to holiness from various aspects in both religions, were seen as “protective sacred items”.
- Subjects
JESUS Christ; INCURABLE diseases; OTTOMAN Empire; TOWELS; NINETEENTH century; RELIGIOUS idols; AFTERLIFE
- Publication
Journal of Art History / Sanat Tarihi Dergisi, 2022, Vol 31, Issue 1, p741
- ISSN
1300-5707
- Publication type
Article
- DOI
10.29135/std.1078016