Meet the young artist behind swords of Saladin: The Conqueror of Jerusalem

In the heart of Istanbul, nestled within the historic corridors of the Grand Bazaar, a young boy wandered through the maze of shops and ateliers, absorbing the sights, sounds, and scents that would shape his future.

The smell of leather from the bustling bag makers filled the air, mingling with the musky scents of incense and spices.

Every step echoed with the greetings of merchants and artisans, creating a welcoming and homely environment.

Hakan Ugur was just ten years old when he was introduced to a world steeped in tradition, where each shop and alley of Istanbul held a story waiting to be discovered.

"My goal was to create something that makes people stop and think, to appreciate the art and the emotion behind it," Ugur, now 26, tells TRT World.

Istanbul once had hundreds of traditional craftsmen, but now the workshops in the Grand Bazaar are just a shadow of what used to be a bustling trade. Intricate craftsmanship has been replaced by soulless products made in factories.

Ugur’s work gained attention thanks to popular TV series like Resurrection: Ertugrul and Saladin: The Conqueror of Jerusalem.

He helped design replicas of 14 century shields, helmets, and swords for the historical drama.

Ugur is master of the traditional art of kalemkarlik (ornamental engraving), placing him among a handful of artists who are still striving to keep the centuries old craftsmanship alive.

He mentions that many of his masters have moved to other cities, making him the youngest artist working in this craft within the Grand Bazaar and the Han, a historical inn from the 17th century, which is located on Cakmakcilar Slope, south of Eminonu.

How a boy got caught up in the traditional art scene is a story in itself.

In the womb of the old city

Ugur comes from a family deeply rooted in craftsmanship, and his journey into art was not a coincidence but a guided passage. Or so it seems to him now.

He was born and spent the first few years of his life in Urfa, the city famous for Prophet Ibrahim’s story. When the family moved to Istanbul in 2008, Ugur didn’t venture around like others to see the Istanbul Strait at Ortakoy or wander around Camlica Hill. Instead, he immediately ended up at the Grand Bazaar.

“It was my third day in Istanbul and I was already at the bazaar,” says Ugur, who still looks so young that he can easily be mistaken for a teenager.

His brother-in-law, Ismail Bulbul, was a master craftsman, and he brought Ugur to his atelier.

There, Ugur had his first glimpse into the meticulous and disciplined arts of kalemkarlik (engraving) and sadekarlık (lapidary), laying the foundation for his artistic path.

Despite his young age at which boys play football or spend hours on video games, Ugur was captivated by the intricate designs, and immediately got to chatting with seasoned artisans, who liked the boy very much.

It was during these early days in the Grand Bazaar, among masters of centuries-old techniques, that Ugur's artistic journey began.

The Grand Bazaar was more than a marketplace for him; it was a living, breathing classroom. "I remember walking down those crowded streets as if I were the story's main character.”

"Every merchant, every shop owner knew me. The atmosphere was like a fairy tale—the smell of fresh leather, the glimmer of gold in the windows, the sounds of hammers and chisels—it was all so inspiring."

Ugur's path was unconventional. Instead of spending his childhood playing outside, he was learning from his brother-in-law, a master in the craft, who had introduced him to the traditional craft of kalemkarlik.

Fusing tradition and art

Ugur's true calling came in the form of kalemkarlik, the Ottoman art of metal engraving. This art form, rooted in Islamic tradition, demands precision and creativity.

It involves carving intricate designs onto metal surfaces, often using geometric or floral patterns inspired by nature and spirituality.

Ugur 's early work, while humble, quickly grew to incorporate these rich, complex designs, merging centuries-old traditions with his modern sensibilities.

He is deeply inspired by the ethos of the Ahi brotherhood, a centuries-old Turkish and Islamic guild tradition that emphasises morality in craftsmanship.

“Ninety per cent of the work is ethics; only ten per cent is labour,” Ugur remembers his master telling him. A principle he adheres to steadfastly.

This philosophy became the cornerstone of his approach to kalemkarlik. In his workshop, he stresses that the value of any piece is not merely in its execution but in the character of the artist who creates it.

It's a balance between technical expertise and spiritual expression, where each piece of art is imbued with a sense of moral purpose.

Ugur's art is not confined to just one medium. He has expanded his practice to sadekarlik, a related art form where he embellishes metals with intricate patterns. This blending of engraving and embellishment allows him to infuse life into everyday objects, such as jewellery and ornamental pieces.

What distinguishes Ugur's work is not only the technical skill but the stories behind each creation. Whether an intricate ring or a ceremonial sword, Ugur approaches each project with a deep sense of history and spirituality, often drawing upon Ottoman motifs like rumi and cintemani.

"My most captivating pieces are those where the designs are stylised, more symbolic than realistic," Ugur explains, pointing out the influence of Ottoman design principles that avoid exact representation.

"In our tradition, we believe that only God can create perfection. What we do as artists is reflect on that perfection more abstractly."

As Ugur explains, "Kalemkarlik isn’t just a craft from the last 300 or 500 years; it’s been with humanity since the very beginning. You can see its roots in ancient cave drawings, stone carvings, and even Egyptian inscriptions. It’s in our nature to leave a mark, to record something."

Ugur elaborates further: "The tools I use are as simple as they were a thousand years ago—just a hammer and a chisel, no modern technology involved. Sometimes, even a toothpick becomes a tool, depending on the intricacy of the work."

This philosophy has driven much of his work, especially in his engravings of birds, flowers, and celestial designs, which appear otherworldly and dreamlike yet grounded in ancient artistic forms.

It also brought him to the world's notice.

Istanbul craftsmanship

In a remarkable collaboration, Ugur and enamel jewellery designer Berna Turanci have breathed new life into the centuries-old Süleymaniye Isi (Suleymaniye, Istanbul craftsmanship), a distinct fusion of Viennese and Ottoman artistry that had been dormant for 300 years.

The craft that once thrived in the heart of Suleymaniye, mirrored the intricate details of Istanbul's bustling life.

It gradually faded after the workshops relocated to Rami's Industrialists Site in the 1970s. Their first project, a lidded copper dish, defined an era.

The dish's brass knob, designed in the shape of a pine cone, was sand-cast and coated with 24-carat gold.

The copper, delicately enamel-coated and fired at 900 degrees, achieved a stunning glass-like finish, echoing the precision of its historical predecessors.

"For 300 years, no one dared to attempt it. We've revived it in its original form," Ugur says.

Ugur's work is deeply influenced by the legacies of great minds, both artistic and scientific.

Da Vinci to Sezgin timeless inspirations

One of his most celebrated creations is a large-scale astrolabe designed for Istanbul Technical University (ITU), commemorating its 250th anniversary.

"The astrolabe is more than a tool; it's a bridge between science and art, a testament to the brilliance of Islamic scholars."

This astrolabe, a 950-year-old design meticulously replicated by Ugur, was installed as a centrepiece at the university's new landscape area.

In addition to his work for ITU, Ugur crafted a series of limited-edition astrolabes for Kuveyt Turk in 2019, during the Fuat Sezgin Year, honouring the renowned scholar on history of science in the Islamic world.

He created 150 handcrafted pieces for the bank's prestigious clients, each one embodying the legacy of Sezgin's devotion to reviving the works of Islamic science.

"Through these works, I wanted to pay tribute not just to the past but to carry that knowledge forward into modern craftsmanship," Ugur says.

This project marked a pivotal moment in his career, merging his passion for Islamic heritage with contemporary art.

Ugur's artistic approach, rooted in the perseverance and visionary creativity of Leonardo Da Vinci and Vincent van Gogh, offers a fresh perspective that seamlessly intertwines classical influence with modern expression.

"Da Vinci's ability to embed layers of meaning within his work is something I strive to mirror in my pieces," Ugur reveals, highlighting the intricate thought process that shapes each creation.

This philosophy is at the heart of his 'Eyes Don't Lie' collection, a stunning homage to Renaissance art that redefines traditional jewellery.

By blending classical techniques with contemporary aesthetics, Ugur transforms each intricate, oil-painted eye on precious metals like silver, copper, and gold into more than a decorative piece.

"Each piece is more than just jewellery—it's a reflection of an emotion, a story waiting to be told," Ugur explains, underscoring the emotional depth he infuses into his work.

Every piece becomes an intimate canvas for self-expression, inviting wearers to explore what jewellery can represent beyond its physical form.

Passing on the legacy

In 2024, 26-year-old artist Hakan Ugur opened his atelier in Buyuk Valide Han. However, one must first pass through the Grand Bazaar to reach Ugur's WM Design atelier, nestled within this centuries-old structure.

"The Han offers one of the most beautiful views of Istanbul," Ugur says as he guides us through his workshop.

Passing through the stone walls and arches, he adds, "Sometimes, I wonder about the craftsmen and notable figures who worked here before me, and I feel like a kalemkar (engraving artist) travelling through time."

The Buyuk Valide Han, which houses the Tower of Eirene, is the largest commercial Han in Istanbul by size, steeped in mysticism and history.

Ugur shares a fascinating secret about the location's imperial history.

"It's said that one of the most powerful women in Ottoman history, Kosem Sultan, stored her fortune of twenty chests filled with gold florins in the tower here," he says.

"After her death, this immense treasure was left to the state." This historical narrative adds an extra layer of intrigue to Ugur's hidden atelier, blending his art with the grandeur of Ottoman imperial legacy.

Hakan Ugur held his first international engraving exhibition in Eskisehir in 2017. His second showcase took place in 2019, featuring his engraving and tombac work on the 350-year-old Hunkar Pavilion in Istanbul.

As he prepares for his next exhibition, Ugur is already thinking ahead, not just about his future but about how to pass on what he has learned.

"I have 15 students now," he says, "and I hope to teach many more. This art has survived for centuries, and we must ensure it survives for centuries."