Leman magazine, a prominent Turkish satirical weekly, became the center of a major national controversy in late June 2025 after publishing a cartoon that was widely interpreted by authorities and segments of the public as depicting the Prophet Muhammad and Prophet Moses shaking hands in the sky while missiles rained down on a war-torn city below2567. This cartoon sparked intense backlash:
: Turkish authorities detained at least four employees of Leman, including the editor-in-chief, a graphic designer, the institutional director, and the cartoonist responsible for the drawing157. Arrest warrants were also issued for other senior staff, some of whom were reportedly abroad at the time56. The Istanbul chief prosecutor launched an investigation into “publicly insulting religious values,” a criminal charge under Turkish law16.
: The publication triggered large protests outside Leman’s Istanbul headquarters, with demonstrators—many from Islamist groups—attempting to storm the building and clashing with police, who used rubber bullets and tear gas to disperse the crowd161011. The magazine’s offices were temporarily taken over by police for security reasons56.
: Top Turkish officials, including President Erdoğan and Interior Minister Ali Yerlikaya, condemned the cartoon as a “vile provocation” and “shameless,” vowing that those responsible would be held accountable1357. The Justice Minister stated that such depictions “not only undermine our religious values but also disrupt societal harmony”16.
: Leman strongly denied that the cartoon depicted the Prophet Muhammad, explaining that the character named “Muhammad” was intended to represent a Muslim civilian killed in Israeli attacks, not the Prophet himself1256. The magazine argued that the cartoon was misinterpreted and accused critics of launching a “smear campaign” against them, calling for protection of freedom of expression256. The editor-in-chief emphasized that with over 200 million people named Muhammad in the Muslim world, the cartoon was not intended to reference the Prophet56.
: As of July 1, 2025, several Leman staff members remain in custody, the magazine faces ongoing legal proceedings, and its latest issue has been subject to confiscation orders and social media access restrictions4. The incident has reignited debates about press freedom in Turkey, which ranks low on global press freedom indices25.
In summary, Leman magazine is facing severe legal, political, and social repercussions following the publication of a controversial cartoon, with its staff under arrest, its operations disrupted, and its future uncertain amid a highly charged national debate on religious respect and freedom of expression12567.
I have asked Perplexity to employ a semiological analysis of that cartoon. Unfortunately, I cannot share the image because of possible repercussions:
This cartoon can be analyzed semiologically by examining its signs, symbols, and the interplay of visual and textual elements to uncover deeper meanings and cultural references.
Denotative Level (Literal Meaning):
The image shows two angelic figures, each with wings and halos, shaking hands in the sky.
The figure on the left says, “Selamün aleyküm, ben Muhammed!” (“Peace be upon you, I am Muhammad!”).
The figure on the right replies, “Aleyhem şalom, ben de Musa…” (“And upon you, shalom, I am Moses…”).
Below them, a city is depicted in flames and ruins, with projectiles (possibly bombs or missiles) raining down.
Connotative Level (Cultural and Symbolic Meaning):
Characters: The figures represent the prophets Muhammad (Islam) and Moses (Judaism), both central to their respective religions and significant in the context of Abrahamic faiths.
Greetings: Each uses a traditional religious greeting—”Selamün aleyküm” (Islamic) and “Şalom” (Jewish)—emphasizing their cultural identities and shared values of peace.
Setting: The destruction below them, with burning buildings and falling bombs, alludes to conflict, likely referencing contemporary or historical violence between communities identified with these prophets (e.g., Israeli-Palestinian conflict).
Tears: Both figures are crying, suggesting sorrow and mourning over the violence occurring among their followers.
Handshake: The handshake between Muhammad and Moses in the heavens contrasts sharply with the chaos below, symbolizing the possibility of peace, mutual respect, and shared humanity at a spiritual or ideal level, even as their followers are engaged in conflict.
Mythic/Ideological Level:
The cartoon critiques the use of religion to justify violence, highlighting the irony that the founders of these faiths—depicted as peaceful, sorrowful, and united—would likely disapprove of the destruction carried out in their names.
The juxtaposition of divine figures in harmony with earthly destruction below serves as a commentary on the divergence between religious teachings and political realities.
The use of religious symbols (halos, wings, greetings) and the visual language of war (bombs, fire, ruins) creates a powerful contrast, inviting viewers to question the legitimacy and consequences of religiously framed violence.
Semiotic Codes:
Iconic code: The visual resemblance of the figures to traditional depictions of prophets and angels.
Symbolic code: Religious greetings, tears, and handshake symbolize peace, empathy, and reconciliation.
Indexical code: The destruction below indexes real-world conflicts associated with religious and ethnic divisions.
Summary Table:
| Element | Denotation | Connotation/Symbolism |
|---|---|---|
| Muhammad & Moses | Religious figures, angels | Peace, shared sorrow, unity |
| Greetings | “Selamün aleyküm”, “Şalom” | Peace, cultural identity |
| Tears | Crying | Mourning, empathy |
| Handshake | Physical gesture | Reconciliation, solidarity |
| Ruined city, bombs | Destruction, war | Real-world conflict, critique of violence |
This cartoon uses semiotic strategies to critique the gap between religious ideals and the realities of conflict, urging reflection on the true messages of peace and coexistence that these religious figures represent.
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