RUMI
To follow the scenes, the viewer must either turn the ceramic itself or walk around it. Thus, every encounter with these works also becomes an act of turning — echoing the movement of the Firmament...
To follow the scenes, the viewer must either turn the ceramic itself or walk around it. Thus, every encounter with these works also becomes an act of turning — echoing the movement of the Firmament...
I completed my Master of Fine Arts degree in Traditional Turkish Arts at Mimar Sinan University of Fine Arts (2005–2007). As part of my thesis, titled “The Philosophy of Rumi and New Interpretations of Ceramics”, I studied the stories in “Anecdotes of the Wise” by Ahmed Eflâkî and reinterpreted them in the form of ceramics.
To follow the scenes, the viewer must either turn the ceramic itself or walk around it. Thus, every encounter with these works also becomes an act of turning — echoing the movement of the Firmament — a gesture that lies at the heart of Rumi’s philosophy.
The story takes place in the desert. The young son of a wealthy tradesman from the city of Konya falls asleep and loses track of the caravan. After walking for a while, he sees a tent in the distance. Weary from the long walk, he runs toward it. At the entrance of the tent stands an imposing man, holding a pot of water and cooking halva over a fire. The young man asks why. The man replies that he is a disciple of Rumi and waits for him to pass by, as he does every day. At that moment, Rumi appears in the distance. When he arrives, they greet each other, and Rumi is served halva and water. The young boy begs Rumi to help him find his friends. Instantly, he finds himself back with the caravan.
Feast in the Desert / vase, Ø 29 cm, h. 28 cm
One day, Rumi visits the vineyard of a beloved disciple, where the group is holding a seven-day, seven-night gathering. One of the singers silently worries that he has not been able to bring food to his family for days. Sensing this, Rumi approaches, takes a handful of silver coins from his robe, and pours them into the singer’s tambourine.
The Firmament / vase, Ø 27 cm, h. 30 cm
Eagle Apples / ceramic sculptures, each h. 5–8 cm
Eagle Apples / ceramic sculptures, each h. 5–8 cm
Eagle Apples / ceramic sculptures, each h. 5–8 cm
Eagle Apples / ceramic sculptures, each h. 5–8 cm
Bahâeddin Bahri, a friend of Rumi’s disciple Çelebi Hüsameddin, deeply longs to meet Rumi. One day, when Çelebi Hüsameddin comes to visit him, Bahri suddenly sees Rumi himself ascending the stairs. Delighted, he welcomes his guests and wishes to serve them food. Yet the servant explains that all the food has been consumed, and he has already filled the pot with water to wash it. Rumi then asks Bahâeddin Bahri to summon the servant and bring the pot. As soon as Rumi takes the pot into his hands, it miraculously fills with meat and rice. Rumi declares that this is God-sent food from the unseen world and must be eaten. Witnessing this miracle, Bahâeddin Bahri devotes himself as a disciple of Rumi.
The Blessing of Rumi / vase, Ø 28 cm, h. 31 cm
The story is narrated by Kira Hatun, Rumi’s wife.
Kira Hatun stands at the door of the room, watching Şems and Rumi talk. Suddenly, the walls of the house are cracked open and six imposing men from the unseen world (the world beyond human senses) enter the room. They give the roses in their hands to Rumi. Then they pray under the imamate of Rumi and respectfully leave the room through the same crack.
Kira Hatun is both amazed and frightened upon seeing this scene. Rumi hands the roses to his wife and asks her to keep them safe. These fresh and fragrant roses are roses from the Garden of Eden, sent as a remedy to eyes.
Kira Hatun stands at the door of the room, watching Şems and Rumi talk. Suddenly, the walls of the house are cracked open and six imposing men from the unseen world (the world beyond human senses) enter the room. They give the roses in their hands to Rumi. Then they pray under the imamate of Rumi and respectfully leave the room through the same crack.
Kira Hatun is both amazed and frightened upon seeing this scene. Rumi hands the roses to his wife and asks her to keep them safe. These fresh and fragrant roses are roses from the Garden of Eden, sent as a remedy to eyes.
Guests / vase, Ø 28 cm, h. 30 cm
One day, while Rumi is in conversation with his friends at the madrasah, a white-bearded dervish enters. He throws himself at the feet of Rumi and tells how he served his sheikh for many years and how he suffered.
Rumi asks what the sheikh has done for the dervish in return for all that he has done for the sheikh. Then Rumi says, a true sheikh facilitates life for the disciple, without him even noticing, and takes the disciple to God.
Rumi asks what the sheikh has done for the dervish in return for all that he has done for the sheikh. Then Rumi says, a true sheikh facilitates life for the disciple, without him even noticing, and takes the disciple to God.
Dervish / vase, Ø 27 cm, h. 31 cm
Bahâeddin Bahri, a friend of Rumi’s disciple Çelebi Hüsameddin, deeply longs to meet Rumi. One day, when Çelebi Hüsameddin comes to visit him, Bahri suddenly sees Rumi himself ascending the stairs. Delighted, he welcomes his guests and wishes to serve them food. Yet the servant explains that all the food has been consumed, and he has already filled the pot with water to wash it. Rumi then asks Bahâeddin Bahri to summon the servant and bring the pot. As soon as Rumi takes the pot into his hands, it miraculously fills with meat and rice. Rumi declares that this is God-sent food from the unseen world and must be eaten. Witnessing this miracle, Bahâeddin Bahri devotes himself as a disciple of Rumi.
Rose Garden / bowl, Ø 31 cm, h. 20 cm
