Glazed Ceramic Lamps in the Museum of Anatolian Civilizations

Abstract

Anatolia stands out as one of the most dynamic regions in the medieval Islamic world in terms of the technical diversity of ceramic production, aesthetic understanding, and workshop organisation. The ceramic tradition that developed in this region was not limited to the production of vessels for everyday use; it also formed a multifaceted field of cultural production reflecting the technical knowledge, aesthetic preferences, and production processes of the artisans. Glazed ceramic lamps are among the unique groups of works that embody both the functional and artistic dimensions of this tradition. The aim of this study is to provide a contribution to the dating of these works by systematically examining the glazed ceramic lamps in the Anatolian Civilizations Museum collection, most of which are stored in the museum's depots, from a typological and chronological perspective, and to establish a comparative reference framework for the evaluation of archaeological ceramic finds that will be obtained in the future. In this regard, the aim is to evaluate groups of artefacts in museum collections that are not generally exhibited but have high scientific potential. It is observed that studies on Anatolian ceramic production in the literature have largely focused on finds from the Ancient Period, while ceramic artefacts from the Turkish-Islamic Period have been addressed by a limited number of researchers. Ceramic lamps have been evaluated as secondary examples within general ceramic groups in most studies and have not been the subject of comprehensive typological and technological analyses. This situation has led to lamps, which constitute an important part of Anatolian Seljuk and Beylik Period ceramic production, being underrepresented in scientific literature. This study aims to minimise this gap and make a comprehensive contribution to the field by focusing on glazed ceramic lamps from the Turkish-Islamic period. Within the scope of the research, a total of 43 glazed ceramic oil lamps in the collection of the Museum of Anatolian Civilizations were examined. The artefacts were evaluated in detail in terms of their form characteristics, clay compositions, additives, production techniques, decorative concepts, glaze applications, and chronological distribution. The study employed a typological and comparative analysis method, systematically addressing dimensional data and morphological characteristics. The typological analysis resulted in the classification of the lamps into 13 distinct types. This diversity demonstrates that ceramic production in Anatolia exhibited a flexible and innovative structure, dependent on functional requirements and workshop traditions. Most of the examined examples consist of closed-bodied and handled forms. In particular, the Closed-Flat Spherical-Handled type, with 12 examples, constitutes the most numerous groups, suggesting that this form achieved a certain standardisation in terms of both production and use. The limited number of open-bowl lamps indicates that closed forms were preferred due to their functional advantages, such as protecting the oil, preventing wind interference, and ensuring controlled burning. Rare examples in the form of slippers, jugs, and multi-wick lamps are considered indicative of typological diversity, pointing to specific areas of use or ritual purposes. Clay analyses reveal a predominance of red and light red tones, which is associated with the high iron oxide content of clay deposits in Anatolia.The addition of mica, lime, and fine sand highlights conscious material selection and technical expertise in production. It is understood that the bodies of the lamps were mostly shaped on a wheel, with details completed by hand. The application of the barbotine technique in some examples reflects the characteristic surface decoration approach of Seljuk Period ceramics. Single-colour examples dominate in glaze applications, and the intensive use of green glaze confirms the prevalence of the copper oxide alkali glaze tradition. Chronological evaluation reveals that the collection spans a broad timeframe from the 9th-10th centuries to the late 14th century, with the majority of examples dating to the 13th-14th centuries. The increase in lamp production during the Seljuk Period is directly related to the lighting requirements of public and religious architecture. In conclusion, this study comprehensively reveals the technical, aesthetic, and functional characteristics of glazed ceramic oil lamps from the Anatolian Seljuk and Beylik Periods, thereby filling an important gap in the literature and providing a solid reference for future archaeological evaluations.