“The art of illumination is now one of the forgotten arts in our country,” said Ekşioğlu, “The miniatures and illuminations used on this rosary completely describe the Seljuk period. In the same way, the design also describes the Seljuks. One of the imame team is exactly the minaret of the double minaret madrasah in Erzurum. “The motif, which we know as the tree of life in the Seljuks, was reflected to the imam exactly. In the other imamate, the motif, which we know as the tree of life, was mirrored exactly. In the part we call the inscription, the double-headed eagle, which is also used in many places in the Seljuk region, was engraved on the tree in 3D,” he said.
Ekşioğlu said, “In our imame team in the middle, the art of evisceration performed by a limited number of masters in Turkey was applied,” said Ekşioğlu. “Our masters have deftly designed a design like this. The casing of our rosary is walnut. Walnut has an important place in woodwork. Likewise, our knight is a fossil of a tree. It is a fossil we unearthed from the ground,” he said.
“WE WANT TO REPRESENT OUR COUNTRY BETTER IN ROSSIBILITY AND WOOD ART”
Pointing out that they want to represent Turkey better in rosary and wood art, Ekşioğlu said:
“This rosary has attracted a lot of attention, both among lovers of rosary, among collectors and in the art community. We have started to carry out R&D studies on them with different and new projects that we will do if we get the chance. At this point, we want to represent our country better. In addition, the Turkish youth in the field of art. We want to show you what you can do.”
Ekşioğlu said that he wanted the rosary to go to a good collector. If it goes to someone who will appreciate it, why not, of course we can consider selling it,” he said.