I was deeply drawn to the abstract expressions, delicate details, and the harmony of pure and mature colors that characterize traditional miniatures... They continue to be a significant source of inspiration for my ceramic work today.
Around 1990, while I was living in Kütahya, a city renowned for its traditional Turkish ceramics, I began studying Turkish miniatures in the studio of painter Ahmet Yakupoglu. Under his guidance, I explored the classics, creating my own interpretations, and I was deeply drawn to the abstract expressions, delicate details, and the harmony of pure and mature colors that characterize this art form.
This page presents a selection of my works in the traditional miniature style. Many of the compositions are inspired by my travels, while the final section features studies of flowers I encountered during my daily walks. These motifs remain a significant source of inspiration for my ceramic work today.
This page presents a selection of my works in the traditional miniature style. Many of the compositions are inspired by my travels, while the final section features studies of flowers I encountered during my daily walks. These motifs remain a significant source of inspiration for my ceramic work today.
Following a series of replicas of classical Turkish miniatures, "My Daughter in a Poppy Field" became my first original work.
It depicts my four-year-old daughter, Deniz, in her snow-white dress and horsetail hair, surrounded by the fresh spirit of spring: scarlet poppies — the most delicate of all flowers — and fields of vibrant green grass.
It depicts my four-year-old daughter, Deniz, in her snow-white dress and horsetail hair, surrounded by the fresh spirit of spring: scarlet poppies — the most delicate of all flowers — and fields of vibrant green grass.
My Daughter in a Poppy Field / gouache and gold on sized calligraphy paper, 20 × 32 cm
The Temple of Zeus, which enchanted me at first sight with its Medusa statue, is an ancient ruin near the city of Kütahya. In this work, I tried to reflect life in Cavdarhisar both today and as it was 2,000 years ago. A 2,000-year-old bridge that is still in use, the amphitheater, the public bath with its mosaic floor, the opium fields, and the villagers working in them all come together in this miniature.
Aizanoi, Cavdarhisar / gouache and gold on sized calligraphy paper, 20 × 30 cm
Inspired by a painting of my master Ahmet Yakupoglu, this miniature depicts Aksu, the river that also nourishes the city of Kütahya.
Flour mills that no longer exist, blossoming spring trees, a villager woman carrying a sack of flour on her back, and my little daughter chasing butterflies in her red-flowered dress…
Flour mills that no longer exist, blossoming spring trees, a villager woman carrying a sack of flour on her back, and my little daughter chasing butterflies in her red-flowered dress…
Spring in Aksu / gouache and gold on sized calligraphy paper, 35 × 27 cm
Hundreds of photos I took during my visits to Ephesus, along with my interest in archaeology and my studies on the subject, paved the way for a series of miniatures. I remained faithful to what I witnessed during my visit—from the colors of the land and the sky to the shapes of the monuments.
At the time this miniature was created, the Terrace Houses had not yet been opened to visitors, making this work a documentation of those days as well. In the sky appear clouds shaped like the statues of Zeus and Nike displayed in the Ephesus Museum; in the foreground, a group of tourists gazing at Hadrian’s Gate; and in the background, my daughter and I.
At the time this miniature was created, the Terrace Houses had not yet been opened to visitors, making this work a documentation of those days as well. In the sky appear clouds shaped like the statues of Zeus and Nike displayed in the Ephesus Museum; in the foreground, a group of tourists gazing at Hadrian’s Gate; and in the background, my daughter and I.
Hadrian’s Gate and the Terrace Houses of Ephesus / gouache and gold on sized calligraphy paper, 20 × 30 cm
The Celsus Library, which I fell in love with during my visit to Ephesus, rises in pure white towards the sky. One reaches it through a mesmerizing street paved with large marble slabs.
In this miniature, I stayed true to reality — even down to the exact number of steps leading up the stairs. Yet, the couple meeting on the marble street belongs only to my imagination.
In this miniature, I stayed true to reality — even down to the exact number of steps leading up the stairs. Yet, the couple meeting on the marble street belongs only to my imagination.
Celsus Library, Ephesus / gouache and gold on sized calligraphy paper, 20 × 30 cm
The photos I took during my various visits to Cappadocia in different seasons made me realize that it is the autumn colors that best reflect the spirit of the region. Therefore, in all of my Cappadocia miniatures, the time of day is afternoon and the season is autumn.
I was deeply influenced by the Zelve Valley in Cappadocia. I loved the valley so much that, when I looked back one last time before leaving, it seemed like a fairytale city bathed in every shade of purple. I still keep a volcanic stone I found there as a memory.
I was deeply influenced by the Zelve Valley in Cappadocia. I loved the valley so much that, when I looked back one last time before leaving, it seemed like a fairytale city bathed in every shade of purple. I still keep a volcanic stone I found there as a memory.
Zelve Valley, Cappadocia / gouache and gold on sized calligraphy paper, 20 × 30 cm
Among the pale-leaved vineyards and the enchanting fairy chimneys of Pasabaglari, I placed a horse — an homage to the very name of Cappadocia, “The Land of Beautiful Horses.”
Pasabaglari, Cappadocia / gouache and gold on sized calligraphy paper, 20 × 30 cm
Detail from “Pasabaglari, Cappadocia”
Detail from “Pasabaglari, Cappadocia”
Detail from “Pasabaglari, Cappadocia”
Detail from “My Daughter in a Poppy Field”
Detail from “My Daughter in a Poppy Field”
Detail from “Zelve Valley, Cappadocia”
Detail from “Zelve Valley, Cappadocia”
Detail from “Hadrian’s Gate and the Terrace Houses of Ephesus”
Detail from “Hadrian’s Gate and the Terrace Houses of Ephesus”
Detail from “Hadrian’s Gate and the Terrace Houses of Ephesus”
Detail from “Aizanoi, Cavdarhisar”
Detail from “Aizanoi, Cavdarhisar”
Detail from “Aizanoi, Cavdarhisar”
Detail from “Spring in Aksu”
Detail from “Spring in Aksu”
Detail from “Spring in Aksu”
Detail from “Celsus Library, Ephesus”
Detail from “Celsus Library, Ephesus”
Spring and its blossoms have always been my greatest joy. In the garden of my childhood home, roses, hyacinths, tulips, lilies, redbuds, and lilacs bloomed in abundance. Each flower brought me happiness, every spring day felt like a celebration of life.
Years later, again on a spring day, my master Ahmet Yakupoglu asked me to paint the flowers in his garden. As I studied them closely, I felt as if they smiled at me, spoke to me, even became my friends. It is no surprise that I loved them so dearly.
Years later, again on a spring day, my master Ahmet Yakupoglu asked me to paint the flowers in his garden. As I studied them closely, I felt as if they smiled at me, spoke to me, even became my friends. It is no surprise that I loved them so dearly.
Flowers / gouache on paper, assorted dimensions
