The city of Mardin is distinguished by its unique urban and architectural identity, in which historical residential buildings are integrated into the region’s topography, with an organically developed street layout. These residences, constructed over several centuries across various neighborhoods, have housed a diverse range of ethnic and religious communities, reflecting the city’s rich and pluralistic heritage. During the late Ottoman period, particularly in the second half of the 19th century, Mardin’s domestic architecture underwent a significant transformation: Newly constructed houses commissioned by affluent Muslim and non-Muslim patrons began to feature elaborate stone-carved decorations on facades and interior spaces.

The architectural ornamentation of domestic edifices in Mardin—for both Muslims and non-Muslims—is predominantly characterized by the decorative language and vocabulary of medieval Islamic architecture. A limited array of late antique motifs is also featured, including undulating vines and grape branches, acanthus leaves, and dentils. However, the most striking feature of the decorations, which is also the focal point of my research, is the presence of a distinct figural and symbolic repertoire found exclusively in the houses of Christian communities. This includes symmetrical compositions of birds flanking a central vase or floral motif, sculptural bird figures, cherubs, and, in some cases, anthropomorphic representations and biblical inscriptions. The selective and consistent use of these motifs, I argue, indicates a deliberate visual strategy and iconographic program, rather than a purely ornamental preference.

Despite the relatively liberal sociopolitical climate fostered by the Tanzimat reforms (1839–1876) and their subsequent implementations—which expanded the legal and social rights of Christian communities within the Ottoman Empire—it was highly uncommon for private residences in Muslim-majority cities to display overtly Christian imagery. In this regard, the architectural decoration of Christian houses in late Ottoman Mardin constitutes a rare and exceptional phenomenon within the context of domestic architecture in the empire. The deliberate incorporation of explicitly Christian motifs into homes—particularly in visually prominent locations, such as facades and reception rooms—suggests a conscious engagement with issues of identity, visibility, and representation. 

This study investigates the distinctive decorative program of Christian houses in Mardin, focusing on cases in which figurative motifs, symbolic elements, and biblical inscriptions are integrated into architectural ornaments. It posits that ornamentation in these domestic contexts functions as a sophisticated symbolic language, encoding theological and cultural meanings within the built environment. By interpreting these symbols and their underlying intentions, as well as the communicative strategies embedded in these visual compositions, the study illuminates the broader social and religious dynamics of the late Ottoman context.

In the figurative decoration of Christian domestic architecture, a distinct ornamental scheme—particularly evident in the portals of facades and the grand niches of reception halls—appears to adhere to a clearly articulated iconographic program: Figural representations are not employed arbitrarily; rather, they are deliberately integrated into an established repertoire of vegetal and geometric motifs that structure the portals’ and niches’ decorative compositions. Cherubs or anthropomorphic figures appear on column capitals, bird motif sculptures occupy the imposts, and vine scrolls accentuate the extrados of arches. Among these motifs, the Mardin pigeons—a familiar feature of the city’s urban landscape—are rendered almost life-size as sculptural elements perched on imposts. These sculptural pigeons serve both aesthetic and symbolic functions, exemplifying the integration of urban imagery within an intentional iconographic framework. Although the identities of the craftsmen remain unknown, the consistency and sophistication of these designs indicate an advanced theological literacy combined with considerable creative ingenuity. 

This research, grounded in fieldwork on stone-carved decorations in late Ottoman houses in Mardin and supported by the Istanbul Technical University Scientific Research Unit (Project No. BAP31536), was further advanced through iconographic analysis during my two-month residency at the Center. I conducted extensive research on Christian symbolism, drawing on the rich collections of the National Gallery of Art Library, Library of Congress, and Dumbarton Oaks. This period of focused research proved instrumental in validating, refining, and further developing my interpretation of the iconographic program identified in Mardin. Equally significant were the intellectual exchanges fostered within the Center’s academic environment. Discussions with staff members and fellow researchers offered valuable analytical perspectives.

Istanbul Technical University
Paul Mellon Visiting Senior Fellow, January–February 2026

Deniz Çalışır Pençe returned to her position as assistant professor in the interior architecture department and art history graduate program at Istanbul Technical University.