When I first walked into Kings and Caliphs, an art history seminar at the College of the Holy Cross, my classmates and I were asked to randomly select an object that sparked our curiosity to research over the course of the semester. Spread before us were black-and-white photographs of objects from the Worcester Art Museum’s early global collection. My eyes were immediately drawn to a small metal object about eight inches tall, its surface adorned with intricate motifs and Arabic calligraphy. At first, I didn’t know what it was, but something about it spoke to me. I soon discovered it was a medieval candlestick, which became the focus of my semester-long research project.
What I uncovered was more than the history of a 13th-century Anatolian candlestick; it became a bridge to my Armenian roots and an opportunity to highlight the often-overlooked contributions of Armenians to the art history of the medieval Mediterranean.
The museum’s label originally identified the candlestick as coming from northwestern Iran. As my peers and I dug deeper, however, curators corrected this information: it was actually from Anatolia, present-day Turkey. That correction was more than geographic; it reshaped the story.
13th-century Anatolia was not modern-day Turkey. It was home to my ancestors and had a vibrant Christian population of Armenians, Assyrians and Greeks living under Seljuk Turkish rule. Metalworkers, many from these Christian communities, produced luxury objects like this candlestick for patrons across the region. The possibility that an Armenian craftsman could have created this piece immediately resonated with me and fueled my semester-long research.
Scholars have long noted the influence of Armenian visual culture in Anatolia. Motifs that appear in Armenian manuscripts, like bull-headed capitals and equestrian dragon slayers, also appear on metalwork such as candlesticks. Siirt, one of the possible origins of the Worcester Art Museum’s candlestick, had a very large Armenian population when it was absorbed into the Seljuk Sultanate.
In my research, I found comparison candlesticks from Siirt featuring Armenian inscriptions. The presence of Armenian inscriptions on other candlesticks from the same region reinforced the cultural connection and influence of Armenian artistry. So, it became very likely that when admiring this candlestick, I could have been admiring the artistry of an Armenian craftsman.
This realization complicated the way I understood the object’s identity, especially when placed within the broader context of how museums categorize works of art.
The candlestick is classified in the museum under “Islamic art,” but my research pushed me to question that label. The category, created in 19th-century Europe, washes over the diverse peoples and cultures of the Middle East. In the case of Anatolia, where Armenians and other Christians were the native inhabitants of the region, works of art cannot be neatly defined as “Islamic.”
For me, this was more than a label. As an Armenian-American, I see value in reclaiming these objects as part of my community’s story. Too often, Armenians are erased from the narrative of the medieval Middle East, even though our ancestors contributed to the artistic and cultural life of the region.
My own family traces its roots to Adana and Kayseri, regions that in the 13th century were home to thriving Armenian communities. Researching a candlestick from this very time and place felt deeply personal. What began as a class assignment became a way to honor my heritage and educate those around me about Anatolian Armenians.
Looking at this candlestick, I see more than bronze, silver and gold.
I see the hands of a craftsman who might have been Armenian, living in a multicultural Anatolia where Christian, Muslim and Jewish traditions intertwined.
I see evidence of coexistence and exchange, but also of Armenian creativity woven into the fabric of Mediterranean art.
The candlestick may be small in size, but it tells a big story: one of cross-cultural connection, shared artistry and Armenian presence in the medieval Mediterranean. By studying it, I had the chance to bring Armenian heritage into focus within a broader narrative that often overlooks it.
I am thankful to my professor, Amanda Luyster, and the College of the Holy Cross for the opportunity to research this candlestick and highlight the influence of Armenians in medieval Mediterranean art.
For me, this small candlestick serves as a reminder that art history is never just about objects: it is about people, their cultures and the legacies they leave behind. Researching this piece was both an honor and a privilege, allowing me to leave my mark as an Armenian-American within the Worcester Art Museum’s collection. Now, when visitors explore the museum and view the educational videos about the candlestick, they can also discover the rich history of Armenian craftsmanship.
All photos are courtesy of Madeline Bogdjalian and/or Dr. Amanda Luyster.
For more information on the candlestick, including video explanations of its history, please click here.
