Ottoman Empire Original 16th Century Hand Painted Turkish Iznik Bursa Anatolia Turkiye Art Studio Kutahya Earthenware Fritware Decorative Art Pottery Vase Deer Rabbits Flowers Fish Scale & Wheat Chaff Underglaze Polychrome Motif
Original antique Iznik Ottoman Empire 16th Century art studio ceramic pottery vase, with a hand-painted underglaze decoration design of deer, rabbits, and flowers/flora, and a fish-scale design along the top edge, with complementary colors of cobalt, malachite, and coral; (circa 1565-1590).
Iznik pottery, also known as Iznik ware, is a type of decorated ceramic that was produced in the town of İznik in western Anatolia from the late 15th century to the late 17th century. The pottery was named after the town where it was made.
In the beginning, İznik was known for producing simple earthenware pottery with underglaze decoration. However, in the last quarter of the 15th century, craftsmen in İznik started manufacturing high-quality pottery with a fritware body. This pottery was painted with cobalt blue under a transparent lead glaze, influenced by Chinese blue-and-white porcelain. The designs of the pottery combined traditional Ottoman arabesque patterns with Chinese elements.
Throughout the 16th century, the style of decoration on the pottery gradually changed. The designs became more flowing and additional colors such as turquoise, sage green, and pale purple were introduced. Iznik potters also produced a large number of underglaze tiles during this period, particularly for decorating imperial buildings designed by architect Mimar Sinan.
However, by the end of the 16th century, there was a decline in the quality of Iznik pottery. The designs became poorer, although production continued into the 17th century. The last significant building decorated with Iznik tiles was the Sultan Ahmed Mosque, also known as the Blue Mosque, completed in 1616.
Most of the surviving Iznik pottery can be found in museums outside of Turkey, while examples of Iznik tiles can be seen in various cities within Turkey, including Istanbul, Bursa, Edirne, and Adana. Notably, Istanbul has examples of Iznik tiling in mosques, tombs, libraries, and palace buildings such as the Rüstem Pasha Mosque, the Sokollu Mehmet Pasha Mosque, and certain parts of the Topkapı Palace complex.
Initially, Iznik pottery followed the style of the Seljuk Empire, but later it was heavily influenced by Chinese porcelain, which was highly valued by the Ottoman sultans. Since the potters in İznik couldn't produce porcelain, they created fritware vessels instead. These vessels used a low-fired body made of silica, glass, and clay.
During the 19th century, European collectors mistakenly associated different styles of Iznik pottery with various pottery-producing centers, such as Kütahya and Damascus. It wasn't until the 1930s that art historians realized that all the different styles were likely produced in İznik. Arthur Lane's chronology from 1957, which divided the pottery into different styles and periods, has generally been accepted.
There is also a connection between İznik and Kütahya pottery. While İznik is considered the main center for Iznik pottery production, some pieces labeled as Iznik may have actually been manufactured in Kütahya. Archaeological excavations in Kütahya have revealed fragments of pots in the Iznik style, indicating that fritware pottery was produced there as well. The distinction between Iznik and Kütahya ware is still being studied and recognized.
Imperial workshops in Istanbul also played a role in producing blue-and-white ceramics during the first half of the 16th century. Tilemakers from Tabriz were employed by the Ottoman court to create tiles for imperial buildings. These tiles used colored glazes and underglaze painting techniques and can be found on various structures in Istanbul.
The early production of Iznik pottery was influenced by "Miletus ware," which was a simple earthenware pottery with dark cobalt blue, turquoise, purple, and green designs on a red clay body.
Approximate measurements are 13"H X 5"W. Hand drawn and painted with a thick, rich, bright blue glaze, with pink and green flowers, and white rabbits. Rabbits, flowers, and decor are raised upward, almost sculpturally, from the surface. Extraordinary detailed and polished, highly complicated, and professional work. Minor chipping on the bottom of the edge of the thick blue glaze. Some lines/crackle in thick glaze, throughout. Minor chip on the very edge of the rim of the neck.
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