Iznik pottery, or Iznik ware, named after the town of İznik in Anatolia where it was made, is a decorated ceramic that was produced from the last quarter of the 15th century until the end of the 17th century. The Ottoman Turkish motivation for creating İznik ware was to imitate the prestige and symbolic value of Chinese porcelain, not its specific decorative designs. While their conceptual origin lies in Chinese blue-and-white porcelain, their decorative design is a distinct Ottoman adaptation of the International Timurid style. This adaptation is marked by a transformation from the prototype's languid quality to a more forceful and contained design, distinguished by its intensity and three-dimensional feel. Technologically, these wares are unique, differing from the methods used for contemporary Iranian pottery and Ottoman architectural tilework. This distinct manufacturing process is thought to be an invention of Anatolian potters. İznik was an established centre for the production of simple earthenware pottery with an underglaze decoration when, in the last quarter of the 15th century, craftsmen in the town began to manufacture high quality pottery with a fritware body painted with cobalt blue under a colourless transparent lead glaze. The change was almost certainly a result of active intervention and patronage by the recently established Ottoman court in Istanbul who greatly valued Chinese blue-and-white porcelain. During the 16th century the decoration of the pottery gradually changed in style, becoming looser and more flowing. Additional colours were introduced. Initially turquoise was combined with the dark shade of cobalt blue and then the shades of piney green and pale purple were added. From the middle of the century the potters in Iznik produced large quantities of underglazed tiles to decorate the imperial buildings designed by the architect Mimar Sinan. Associated with the production of tiles was the introduction of a very characteristic bole red to replace the purple and a bright emerald green to replace the sage green. From the last decade of the century there was a marked deterioration in quality and although production continued during the 17th century the designs were poor. The last important building to be decorated with tiles from Iznik was the Sultan Ahmed Mosque (Blue Mosque) in Istanbul that was completed in 1616. The ceramic collection of the Topkapı Palace includes over ten thousand pieces of Chinese porcelain but almost no Iznik pottery. Most of the surviving Iznik vessels are in museums outside Turkey, but examples of the city's tile production exist in numerous cities throughout Turkey, such as Istanbul, Bursa, Edirne and Adana. In Istanbul examples of Iznik tiling can be seen in mosques, tombs, libraries, and palace buildings, such as the Rüstem Pasha Mosque, the Sokollu Mehmet Pasha Mosque, the tomb of Selim II in the Hagia Sophia complex, and certain buildings of the Topkapı Palace complex such as the Circumcision room and the Baghdad Kiosk.
Overview: role of Chinese porcelain
In earlier periods, Chinese craftspeople used blue-and-white porcelain to replicate the styles of Islamic pottery and metal crafts. Chinese potters in the eighth century duplicated designs like lotus scrolls and motifs from Persian silverwork. Following the establishment of the Ottoman Empire in the early 14th century, Iznik pottery initially followed Seljuk Empire antecedents. After this initial period, Iznik vessels were inspired by Chinese porcelain, which was highly prized by the Ottoman sultans. As the potters were unable to make porcelain, the vessels produced were fritware, a low-fired body comprising mainly silica and glass. The Ottoman Turkish motivation for creating İznik ware was to imitate the prestige and symbolic value of Chinese porcelain, not its specific decorative designs. The originality of the potters was such that their use of Chinese originals has been described as adaptation rather than imitation. Chinese ceramics had long been admired, collected and emulated in the Islamic world. This was especially so in the Ottoman court and the Safavid court in Persia which had important collections of Chinese blue-and-white porcelain. Such Chinese porcelains influenced the style of Safavid pottery and had a strong impact on the development of Iznik ware. By the mid-16th century, Iznik had its own vocabulary of Turkish floral and abstract motifs in tight designs using a limited palette. Decoration progressed from pure symmetry to subtle rhythms.
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