The Cultural and Artistic Journey of Fruit

In the Ottoman world, fruit was not merely food; it was a refined form of presentation where aesthetics, symbolism, and hospitality intertwined. From daily meals to ceremonial gatherings, fruits, together with flowers, were considered among the most magnificent elements of offering. Over time, they transformed from being simply eaten into an image woven into every branch of art.

Fruit on the Table
Fruit offered after meals in the Ottoman Empire was not just a sweet conclusion but also a complement to conversation, music, and aesthetics. Miniatures depict trays filled with pomegranates, apples, pears, along with candlesticks and tulip-carnation arrangements, reflecting the etiquette and aesthetic understanding of the time. At engagement parties, weddings, births, and circumcision ceremonies, nahils prepared with flowers were adorned not only with jewels and clothing but also with abundant fruit.

Paradise in Art
In Ottoman art, fruit carries meanings beyond its formal beauty. In Quranic descriptions of paradise, the abundance and variety of fruits are frequently mentioned; fruits such as pomegranate, date, and grape are considered sacred in this context. Since fruit contains seeds, it symbolizes fertility and continuity, while in Sufi thought, the process of fruit formation was compared to the spiritual maturation of a human being.

From Nature to Pattern: Still Life and Motifs
Fruit motifs most often appear in artworks arranged in bowls. Fruits of the same kind are stacked atop one another, ending with a single fruit at the top. Some fruits, such as watermelon, are depicted sliced with a knife stuck into them, reflecting the visual habits of a specific period.
The 1685 Gazneli Mahmud Mecmuası is one of the earliest examples where still life is treated as an independent subject. In this work, fruits presented alongside flowers are considered the forerunners of the wall paintings in the Yemiş Odası (Fruit Room).

The Yemiş Odası and the Concept of the Garden of Paradise
Built in 1705 by Sultan Ahmed III in Topkapı Palace, the Yemiş Odası demonstrates how fruit depictions were reflected in architecture and decorative arts. Flower vases, fruit-filled bowls, and elegant baskets placed in wall niches illustrate the Tulip Era’s blend of Eastern and Western aesthetics. This arrangement style resembles tile decorations in Indo-Mughal architecture.
The inscription on the fountain commissioned by Sultan Ahmed III in the same period, “As if you built a palace beside Kawthar in Paradise,” openly reveals the symbolism of paradise behind such architectural and decorative designs.

The Form of Presentation: Ready on the Plate, Worthy of the Table
In Islamic belief, food—especially fruit—is accepted as a blessing from God. For this reason, fruits are depicted not on their branches, but prepared in bowls and plates for people. This presentation reflects the idea of divine blessings being offered to humanity. The appearance of fruit bowls not only on fountains and palace walls but also on tombstones shows that the same symbolism continued as an offering of the afterlife.

On Stone, in Penwork, and on Silk
In the 18th and 19th centuries, especially in Western Anatolia, decorations of mosques and mansions frequently included images of fruit bowls and sliced watermelons. Melons, watermelons, and pomegranates, with their many seeds, were associated with abundance. In mansions decorated with paintings, penwork, or wood carvings, fruit was served after meals alongside coffee, accompanied by music.
Composer and poet Leyla Saz, in her memoirs, describes in detail the large silver trays on floor coverings, where fruits were presented with candlesticks, along with damp towels brought in silver containers.

Touching Time with Embroidery
Fruit patterns in Ottoman embroidery developed in parallel with other art forms. In examples from the 18th and 19th centuries, pastel tones were used, with variations of the same color giving depth to the patterns. Fruit-filled bowls and basket motifs, frequently seen on towel edges, turned everyday objects into surfaces of grace.
This aesthetic understanding continues today in ceramic tile designs. Inspired by the Yemiş Odası in Topkapı Palace’s harem section, patterns that bring the flowers of the imperial garden to life in tile art merge with traditional Turkish motifs. One such work, “Flowers of the Imperial Garden – Layered Anemone Flower,” designed by Serap Ereyli, can be viewed here.