Abstract: The door, in its singular sense, is the connection element between interior and exterior. It is a formation that is placed inside the wall and has a rectangular form due to its general characteristics. The rectangular form that cuts the architectural structure vertically, while creating the door definition, also has a holistic effect with various complementary form elements. These can be round or pointed arches or they can be created with muqarnas and geometric forms. The crown door in architecture is a stand-alone structure and essentially representative form above normal wall criteria. Decoration and ornamentation elements on Taçkapı floors refer to an iconographically qualitative repertoire. Tetramorphic animals, animal form and God-Human figure compositions are also encountered in Christian art in a symbolic language. In the crown gate arrangements of Romanesque architecture, mythological figures such as lion, griffon and dragons are reflected in Christian art, but often no explanation can be given about what Asian themes mean. The iconographic forms in the form of animals or plants, which have especially penetrated into the medieval art, are closer to the dictionary of forms that come to the West with Buddhist, Seljuk and pre-art. Oriental motifs were not imbued as purely ornamental elements, the artists of the period showed that they had unlimited imagination in this sense. The formal dictionary of Western art, in particular, is fused with the products offered by the eastern world, elements from the human figure, plant and animal world, are similar to their imaginary or mythological descriptions. The text of the article is to try to explain how the formal features of these elements seen in eastern and western art are compared with their iconographic dimension from a theoretical perspective. Structured Abstract: The door, in its singular sense, is the connection element between interior and exterior. It is a formation that is placed inside the wall and has a rectangular form due to its general characteristics. The rectangular form that cuts the architectural structure vertically, while creating the door definition, also has a holistic effect with various complementary form elements. These can be round or pointed arches or they can be created with muqarnas and geometric forms. The crown door in architecture is a stand-alone structure and essentially representative form above normal wall criteria. Decoration and ornamentation elements on Taçkapı floors refer to an iconographically qualitative repertoire. Tetramorphic animals, animal form and God-Human figure compositions are also encountered in Christian art in a symbolic language. In the crown arrangements of Romanesque architecture, mythological figures such as lion, griffon and dragons are reflected in Christian art, but often no explanation can be given about what Asian themes mean. The iconographic forms in the form of animals or plants, which have especially penetrated into the medieval art, are closer to the dictionary of forms that come to the West with Buddhist, Seljuk and pre-art. Oriental motifs were not imbued as purely ornamental elements, the artists of the period showed that they had unlimited imagination in this sense. The formal dictionary of Western art, in particular, is fused with the products offered by the eastern world, elements from the human figure, plant and animal world, are similar to their imaginary or mythological descriptions. The text of the article is to try to explain how the formal features of these elements seen in eastern and western art are compared with their iconographic dimension from a theoretical perspective. In Taçkapı arrangements, a visual space is encountered, in which various depictions are staged together with the abstract geometric shapes that activate the surface of the building beyond its classical form. In the process of the continuation and maintenance of the cultural elements, the application of the origin, hence to the past, to plastic forms. Of course, when plastic forms are evaluated as a result of all stages of art in history, undoubtedly religion takes the first place. It will also be necessary to connect with the religious, political and social structure in which the era of iconographic form is reflected on religious and civil structures or surfaces. In Christian culture, human figures engraved heavily on the portal are represented by religious themes that explain the worldly form. Anthropomorphic representations are also associated with a repetition of pagan beliefs due to antiquity. The iconographic forms and the movement of thought or idea that were not trapped within the boundaries of religion and culture or geography (Bayrakdar, 2013: 217-219) were also effective in shaping and developing art. Entering into animal form is an anionic attitude outside the churches and even Hz. The depiction of Jesus as a lamb is in line with the socio-cultural thought environment of the period. In the first churches established, Hz. The concept of Divinity was not yet imposed on Jesus. The cultural structure that changed as a result of the great influence of the tribes migration was of Origin due to Asia. There are many signs of digestion of this culture in the European geography. It can be easily understood from the works that the Turkish tribes, which were very early, were the most important factors in the spread of the steppe art, namely the Eurasian style, to the North Black Sea and eastern Europe and the examples in European art that these works affect. These effects are strong enough to make themselves felt in almost all of Europe. Information about the effects of Central Asian Turkish art and culture is no longer limited to only artistic activities, it is strong enough to affect daily life, and even in this period, "The Germanic and Slavs are trying to resemble the noble class of European Huns" are included in the statements of various sources (Berkli, 2020: 575-576). Among the formal elements of medieval Western art, the images representing Tengri in Central Asian art were animal-shaped mythological figures (Adji, 2019: 155-156). The resemblance of the prominent examples in church depiction art attracted the attention of the scientific community and often no clear explanation could be made (Adji, 2019: 102-103). When we look at the examples in Christian art, it is necessary to relate to the medieval period, antopomorphic forms of plastic items processed on the doorways of the crown, a repeat of the pagan beliefs due to antiquity. Attention to similar forms, especially symbolic animal depictions between both cultures, can be explained by the fact that Christian culture is influenced by different religions and cultures, or by common form references.

Keywords: Portal, Iconography, Tetramorph, Representation, Theory