Dating iznik pottery

From the early sixteenth century onward Iznik craftsmen would also have produced tiles, sporadically and still on a very limited scale. The tiles of the mausoleum of Sehzade Mahmud around , very close to the style of Baba Nakkas pottery wares, are one example attesting to this output.

In the latter half of the sixteenth century, when commissions for underglaze painted tiles came flooding into Iznik workshops, their designs and color schemes evolved in accordance with those of ceramic vessels.

One part of the repertoire was firmly rooted in the tradition of architectural tilework, with "stencil-style" motifs, while elements characteristic of the saz and sukufe registers found on vessels were also in evidence. Then was to begin a golden age with a succession of large building initiatives that gave rise to unique decorative programs in which tilework would match painted work kalem isi or exterior designs carved in stone: These ceramic designs, like the Ottoman architectural style that came to assert itself in these provincial towns, are all echoes of the evolution of forms and tastes that spread from the capital of the Empire to the provinces.

Craftsmen from Iznik would execute the decorations of the monuments of Antalya, Aleppo, or Diyarbakir locally. The color palette characteristic of Iznik wares recurs here, yet with slight differences: In the city of Damascus, a more original production, nonetheless influenced by the decorative repertoire of Iznik tiles, came into being shortly after the renovation of the Dome of the Rock. It revealed for the first time tilework inspired by Istanbul creations but in a color palette that was subsequently to mark Damascene production: The stonepaste was also made according to recipes dating back to medieval times, and the glazes remained mainly alkaline and subject to crackling.

Arts of the book Textile art Metalwork, arms and armor Iznik and Ottoman ceramics Safavid ceramics and tiles Hardstones, gems and ivory.

Iznik and Ottoman ceramics In the latter half of the fifteenth century, following the Fall of Constantinople and the establishment of the Ottoman Court in the former capital of the Byzantine Empire, many areas of artistic production enjoyed a renewal of forms. An innovative technology These new Iznik ceramic wares had a stonepaste body, whose plumbiferous nature and high percentage of frit a vitreous substance set them apart from earlier stonepaste pottery produced in the Islamic world. Changes and evolution The golden age of Iznik ceramic wares covered the whole of the sixteenth century, undergoing much formal evolution and enjoying increasing diversification of its decorative repertoire, with decline setting in from the early seventeenth century onward.

Between and , cobalt blue was the predominant decorative hue, with different concentrations of the same pigment being used to obtain many shades of blue. This initial phase was dominated stylistically by a combination of stylized vegetal forms specific to the Islamic repertoire called rumi in reference to the Seljukids of Rum, and of floral motifs known as hatayi inspired by Chinese art China being Hatay in Ottoman.

Towards the late s , turquoise, obtained from copper oxide, was associated with the cobalt blue. This wave of Chinese inspiration was apparent in the introduction of themes such as the three bunches of grapes, the lotus bouquet, and the floral spiraling scrollwork in reserve on the center of dishes that would be constantly reinterpreted over the following decades. While Safavid ceramicists gladly adopted the figurative animal repertoire or landscape elements from the genre scenes of Chinese ceramic wares, Ottoman ceramicists favored compositional schemes and a host of secondary motifs, wave borders, meander scrollwork, rosettes, lotus petals, etc.

Manganese purple and olive-green are added to the palette of blue and turquoise. Often large, round motifs with scale-like patterning are used in the decoration, which sometimes represents pomegranates or artichokes. Increasingly, one sees the naturalistic design that comes to dominate production.

An innovative technology

This is the phase under which Iznik reaches its highest point. Artists combine a rich repertoire of often naturalistic motifs. The Ottoman Empire is at its height and enormous quantities of Iznik are commissioned, including large numbers of tiles destined to cover the walls of the buildings built by the chief court architect, Sinan.

A strong turquoise, emerald-green, black and deep-red are added to the spectrum of colours, and outlines are often drawn in black.

An Iznik pottery dish, Ottoman Turkey, circa The 17 th century: Coarser versions of the productions of the previous century were produced, the colours of works deteriorated — with red often appearing slightly brown — and decoration became less detailed, more obviously executed freehand. During this period, the quality of the paste and glaze also deteriorates, with the glaze taking on a bluish tone and becoming more prone to craquelure.

An Iznik pottery tankard, Ottoman Turkey, circa Because Iznik was produced in relatively large quantity, condition plays a big part in value. Intact pieces can make significantly more than similar examples with repaired breaks. If a piece is repaired, the less loss of the original body, the better.

Often you will find small holes in the foot of a dish, drilled so that it could be hung. Zsolnay pottery of pecs, hungary made some interesting and remarkable pottery, including pieces with their exclusive eosin glaze learn more here. Cantagalli pottery and the magic cockerel at the time the taste for this kind of pottery was a very hot trend in the english speaking iznik style and had.

Provenance of iznik pottery there was a tradition of hanging pottery lamps in mosques dating back at least to the 13th century. Development of antique iznik pottery from the fourteenth century to the sevententh centuries and recommended books on antique iznik pottery.

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