FIGURATIVE ARTUKLU COINS
Since ancient times people have been fascinated
by the heavens, and interpreted patterns of stars and planets as
signs of the zodiac. These human and animal figures of astrology
appear in decoration on all kinds of objects made by many different
civilisations, including the Turkish Artuklu principality and Seljuk
state from the 12th century onwards.
The mystic science of astrology began with the Babylonians, and
influenced works of art among the ancient Greeks, Romans, Byzantines,
Egyptians, Indians and Chinese. Occult and astrological meaning
was invested in figures of animals, angels, mythical creatures such
as dragons, and scenes of combat between animals. In medieval times
scholars became particularly fascinated by these subjects, which
were described and illustrated in many 12th and 13th century manuscripts.
The biographical memoir of Nasr-el-Din Sivasi and the first part
of Cezeri’s book of automatons have illustrations which reveal
the fascination of the Islamic world at this time with astrology
and the occult.
 
The motifs of these sciences embodied metaphysical
values thought to bring good luck, ward off the evil eye, or work
spells, and hence they were used in both secular and sacral architecture
and artefacts of all kinds, applied to wood, stone, pottery, fabric,
and metal. They also appear on coins, such as those of the Artuklu.
The Artuklu principality ruled over an area of southeastern
Turkey which included Hasankeyf, Mardin and Harput from the late
11th century until the 15th century. Their coins show Roman, Byzantine
and Islamic influences as well as Turkish, but above all they were
influenced by the Seljuks. They produced mainly copper and a small
quantity of silver coins.
Their designs include Byzantine style busts with
curly hair, angels, two-headed eagles, dragons, the sacred trees
deriving from Shamanistic beliefs frequently used by the Seljuks,
olives, dates and the pomegranate, symbol of abundance and fertility.
There are motifs symbolising sovereignty and power, subjects from
daily life, motifs of mystic significance and others referring to
mythological stories.
One interesting example is a coin bearing the figure
of an angel belonging to the ruler of Hasankeyf, Nureddin Muhammed.
Where the coin was struck is not known, but it is dated 1175. The
winged figure of an angel in the centre has a halo symbolising the
light of heaven and rank. Art historian Robert E. Darley-Doren believes
that the angel is a messenger bringing news of the ruler’s
sovereignty.
Among the Seljuks, angels were seen as both bringers
of good news and as guardians. Two angels carved on the walls of
Konya Castle are clearly there in the capacity of guardians, while
angels depicted on coins together with hunters may be intended to
bring good luck to the hunt.
So we see that, as illustrated by those of the Artuklu,
coins were not merely functional objects of exchange, but reflected
concepts of the state, religious beliefs, and culture. They are
a valuable source of information for historians and art historians,
telling us when particular rulers reigned and the titles they assumed,
about economic life, recording names of cities which no longer exist,
plants of the time which perhaps are not known today, historical
events, and the influences of other civilisations on the art and
culture of the people to whom they belonged. In other words these
tiny objects are remarkable documents with far more to reveal than
meets the eye at first sight.
* Gündegül Parlar
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