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Ceramic production was
highly valued among the Ottomans. Iznik ware, as it is commonly
known, reached its peak
in the sixteenth century. The designs and quality were controlled
by the government
as they were in
textile production.
This pottery is noted for its attention
to detail. With
imperial sponsorship there was enough money to allow the artisans to
experiment with colors
and techniques. This is why Ottoman pottery was able to reach
such high levels of
quality. Early pieces are characterized by blue and white motifs.
With
time, other colors, such
as red, green and orange, were also included. The designs and
patterns, although
developing a distinct style of their own, derive in great part from
Chinese
as well as Persian
motifs. Artists from
Safavid
Persian workshops were employed thus
introducing Persian
styles.
Ottoman ceramic
techniques were used to produce bowls, plates, lamps and similar
vessels, as well as
tiles. Tiles were commonly used in mosques and the royal Topkapi
Palace. A *tile panel,*
c. 1527-8, (above, left) from the Topkapi Palace shows the flowery
design found also
in
textiles. In
addition to blue and white, turquoise and red have also
been added to the
pallette. The extraordinary amount of detail demonstrates a high
level
of craftsmanship. The
creatures entwined in plant designs are reminiscent of Chinese
patterns.
The bowl from Iznik, c.
1550, (above, center) again illustrates the state control in both
ceramic and textile
production. Here, the vegetal design is simpler and does not
overwhelm the dish.
Ottoman ceramics were
found in all parts of the empire. The lamp, c. 1549, (above, right)
from the Dome of the
Rock, Jerusalem, illustrates that calligraphy was also incorporated
into pottery
designs. As this lamp was used in a
mosque the
inscriptions were probably
derived from the
Qu'ran, the
holy book of Islam. The shape of the lamp, although fully
incorporated into
Ottoman ceramic production, may derive its shape from similar lamps
found in Egypt. |
