Özet:

The tree culture, which is among the common symbols of world cultures, has continued its existence for centuries in the pre-Islamic Turkish culture world. After accepting the Islamic religion, the Turks, who have preserved their ancient lives, habits and religious traditions for generations, have continued to preserve their cultural basins by interpreting the sacred tree cult with a new understanding in the Islamic religious framework they later accepted. When it comes to the source of the serviced tree motif seen in all areas in the Turkish-Islamic painting art, it is clear that, on the one hand, the "life tree" culture in the pre-Islamic Central Asian Turkish culture, on the other hand, the Turkish art is fed by the artistic values that are inherited from the indigenous civilizations located in the wide geography where it is spread. With the acceptance of Islam by the Turks in the Qur’an-i Kerim with the concept of “the holy tree” or “the trees of heaven”, the serviced tree, which gained new iconographic meanings in the Tasavvuf thought, has come to the forefront with its rich iconographic meanings that take its source from the Tasavvuf thought in the Turkish-Islam gloving art repertoire, which is a technic art. The Serbi tree motivation has given an aesthetic appearance to its works with various shapes and shapes, as well as a mystical world with its rich iconographic meanings. In this work, we have evaluated the place in the Turkish-Islamic tasavvuf thinking system of the servant tree, which is one of the trees considered sacred among the pre-Islamic Central Asian Turks after the Turkish acceptance of Islamism, and their reflection to the Turkish-Islamic art in the light of examples of works. Keywords: Serbi, Iconography, Tasavvuf, Turkish-Islamic art.