Dialogue Between Motifs on the Hasan Sultan Tomb: Symbolic Readings on Seljuk Stone Ornamentation and Illumination Art

This study aims to examine the stone ornamentation repertoire of the Hasan Padişah Tomb, dated to the second half of the thirteenth century, within the context of Seljuk art at aesthetic, typological, and interpretive levels. The research focuses particularly on the geometric arrangements, stylized vegetal motifs, and inscription bands located on the exterior façades of the structure, approaching them as components of a multilayered symbolic language. In the analytical process, an iconographic and iconological framework associated with Erwin Panofsky’s three-stage method is employed, enabling the evaluation of decorative elements not only in terms of their formal characteristics but also through their cultural, cosmological, and metaphysical dimensions. The universe of the study consists of the entire decorative program of the Hasan Padişah Tomb, while the sample is limited to its exterior stone ornamentation. Although architectural and typological studies on the monument exist in the literature, a comprehensive theoretical analysis addressing the motif, pattern, and compositional relationship between stone ornamentation and the art of illumination has not previously been undertaken. In this respect, the study seeks to establish a conceptual link between Seljuk stone decoration and illumination art, revealing a shared aesthetic and symbolic language between these two artistic traditions. Geometric networks, star and polygonal compositions, rumi and stylized vegetal motifs, as well as inscription borders are examined as visual codes of meaning production in Islamic art. The findings indicate that these decorative elements are closely associated with concepts such as unity, infinity, cosmic order, divine wisdom, and metaphysical thought. Accordingly, architectural surfaces are interpreted not merely as ornamental fields but as meaningful spatial constructs imbued with symbolic significance. The parallels observed between stone ornamentation and illumination art—particularly in terms of motif typology, compositional principles, rhythm, symmetry, and center–periphery relationships—point to an interdisciplinary continuity within Seljuk artistic production. These similarities suggest that Seljuk art operates through a coherent visual language that transcends material differences and disciplinary boundaries. In conclusion, through the case study of the Hasan Padişah Tomb, this research demonstrates that Seljuk stone ornamentation shares a common symbolic and aesthetic framework with illumination art. This relationship offers an original interdisciplinary perspective on the processes of cosmological and metaphysical meaning-making in Islamic art.