Abstract

It is acknowledged that most motifs used in Western art have an iconographic counterpart. It is inferred that the geometric and floral motifs that we encounter in Anatolia are provided by the world meanings such as “ornamentation”, “talisman”, “power” or “strength”, which have a wide place in folk beliefs, rather than creating a meaning by combining with religious images. In this study, it is focused that on the minaret of the Ibrahim Efendi Mosque in Kilis with the Seal of Solomon motif, which has been used on area of usage in Turkish-Islamic arts, from architectural surfaces to wall paintings, from manuscripts to under-glass paintings. According to the data provided by historical sources, the first work that has existed till now was built by Hacı İbrahim, the son of Hacı Mustafa, one of the residents of Kızılca township. For an unknown reason, a large part of the building was demolished and a second building group was built over time. According to the inscription, the second building group refers to a building group called “the New Mosque”, which was rebuilt in 1831 by Mehmet Pasha, the son of Mehmet Ali Pasha (1769-1849), the Governor of Egypt, who was the Governor of Aleppo. Since only the minaret has existed from the second building group, which consisted of a madrasah-mosque combination, which was demolished over time, this single work is also called “orphan minaret” among the people. In this study, it is emphasized that on the Seal of Solomon motif and the ornamentation of the building, which is especially concentrated in the minaret balcony section. The general acceptance of the six-armed star motif on the pedestal and its usage areas in different works within the Turkish motif tradition were emphasized, and the difference of this motif from the six-armed star, which has a symbolic context in the Jewish faith as Magen David, was determined. The visual data obtained during the survey, archival sources and literature on the structure are based on the documentation method.