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Çini ve keramik sanatında uygulanan teknikler
birbirine benzerdir, Türklerde Çini ve Çinicilik, EL YAPIMI ÇİNİ
VAZO (KAŞİ -KÜTAHYA), Osmanlı çini ustaları mavi-beyaz renkte,
çiçekli kıvrık, Çini fincan takımı, Yeni yılda, dostlarınıza
sunacağınız şık ve gösterişli bir armağan, geleneksel çini
sanatçıları özellikle doğadan, günlük hayattan esinlenmiş, sır altı
tekniği, çini süslemeleri, çini geleneğini, dekorlu çini, karo çini,
tarihi eser restorasyonu, hediyelik eşya, bordür, çini virtüozu,
Osmanlılarda çini sanatı, Çamuru şekillendirip, büsküvi çini ve
sırçalı çini konusunda, büsküvi çini ve sırçalı çini konusunda, Çini
Ustası, çini meraklısı, Çini Motifli Seramik Saat, fonksiyonel çini
sofra takımları üretilmeye başlandı, Türk Çini Sanatının, çiniyi
müzelerden ve uygulandığı tarihi mekanlardan günümüze, Turkuaz
renkli çini üretiminde, İç güzelliğin dış dünyaya yansıması: Çini,
ELSANATLARIMIZ, Dış mimarîde az da olsa taş işçiliğinin üstünlüğüne
rağmen çini kullanılmıştır,kalyon çini pano ,gemili çini pano,ben
bir çini hastasıyım,ben bir çini aşığıyım, Geleneksel Türk El
Sanatları Bölümü'ne, Çinicilik ve Çini Onarımı,sefer tası,şifa
tası,çini sergisi,çini fuarı,çini portalı,çini dünyası,çini
adası,çini zevki,çini tutkusu,çini maket,çini super marketi,çini
toptancısı,çini üreticisi, Çini İşlemeciliği Programı, El sanatları
Çini Sergisi, ÇİNİ ÜRÜNLERİN KULLANIM VE BULUNDURULMA ŞARTLARI,
sadece dekoratif amaçlı kullanıma uygundur, SERAMİK-ÇİNİ, kaliteli
siyah çini mürekkepleri kullanmak, ÇİNİ PORSELEN SERAMİK, İznik
Osmanlı devrinde,büyük çini merkezlerindendi, Selçuk çini.selçuklularda
çini,Selçuklu , 900°C dolaylarında bir ısıda fırınlarda pişirilen
çini levhalar, çiniyi süslemenin en kalıcı, ESKİ ÇİNİ ONARIMLARI
ANASANAT DALI, Keramik (Çini kaplar):, Haliç’te çini ve porselenden
fabrikası, Münakkaş ve "Sade" Çini Kaplar, İznik’te çini üretimi,
Yakup'un çini kaplı sandukası, değerli çiniler, İznik gibi sadece
tarihte değil, bugün de çini geleneği sürüyor Kütahya’da, 'Çini'
Takımlı sofra Bu çiniler bulaşık makinesine giriyor, Türk çini
sanatının kaynakları, Çini Desenleri, Çini genellikle mimariye bağlı
yapıtlarda kullanılmakta, çini, portre, gravür, resim barındıran bir
site, meşhur çini atölyesini, Çini plaka ve evanilerde kullanılan
bazı renkler, özellikle de mercan kırmızısı, beyaz hamurun, çini
süslemenin mimari ile bağdaşan,çini süslemesi, çini merkezi ÇİNİ
SAAT, Çini Desenli Nihale, çini desenli seramik nihale ahşap
çerçeveli, Ürün gamımızda Türk çini sanatının en nadide modelleri
olan ve Osmanlı ve Selçuk, Minyatür, El yapımı göz nuru
çinilerimizden bir tabak, Göz nuru güzel bir çini, Emekle işlenmiş
güzel bir çini, Selçuklu sanatının zengin çini süslemelerine
sahiptir, ahşap üzerine çini deseni işlemeyi başardı, karo çini
kaplamacılığı, çini gravürleri Yunanistan, Japonya, Almanya, Kütahya
Çini ve Seramik Sanatı, Türk Çini sanatında kullanılan desen ve
motiflerin, lk olarak Türkler, Orta Asya’da çini imal etmişlerdir,
El İşi Çini Ürünler, Minai çini parçaları, çini mozaik, çini
stelaktit parça, çini tabaklar, sıraltı ve sırüstü çini parçaları,
çini kandil ve buhurluk, Çini sanatçıları, çini, sırlı bir
seramiktir, görkemli çini ve seramikler, asıl ününü arkaik dönem
formlar üzerine mavi-beyaz iznik çini, çini örnekleri, Kütahya'da,
çini ustası, en renkli çinileri, Canınız çini almak, çini diyarı,
Osmanlı -Türk çini sanatçısı, Çinilerle süslü mihrabın önünde çini
süslü kubbesiyle, Selçuklu devri çini işçiliğinde, çini koleksiyonu,
Özel çini sergisi, Çini,bir yüzü sırlanarak renkli motif ve
dekorlarla nakışlanmış bir kaplama, çini sevgisi, çini kolyeler
hediye, Değerli çini ustalarının, Osmanlı'da çini ve seramik konulu
bir seminer, Osmanlı çini sanatının şahane uslübu Bursa da Yeşil
Camii ve türbe, çini sanatının en güzel örneklerinin yer, çini
tekniği, Çini Müzesi, Çini’nin kurucusu, ünlü çini sanatçımız, çini
cennetine, Çini mağazası, Çini mavisi, kırmızı, turkuvaz ve siyah,
Evliya Çelebi Seyahatnamesinde Kütahya da o dönem 34 çini atölyesi,
İç ve dıs çini, seramik kaplama, dekorlu çini, karo çini, camii,
Türk hamamı, çeşme villa, konak, şömine dekorasyonları, tarihi eser
restorasyonu, çini eserler, İznik Çini Fırınları, Turkuaz Kubbesi,
çini işlemeli, Çinili köşke ait olan sırlı tuğla, mozaik çini ve
çini levhaların, O gece, “çini diyarı” Kütahya’da, tesisat bacasının
kapaklarına kadar, her yeri çini ... Adından da anlaşılacağı üzere
bu cami, tepeden tırnağa çini kaplı,
Türk
desenleri,özel,lalelerimiz,karanfillerimiz,motifler,desenler,laleler,karanfiller,Rumiler
babanakkaşlar,Hatai ,şakayık,hatailer,turkuaz,turkuvaz mavi,mercan
kırmızısı,kobalt mavisi,renklerin her tonu,ateşte açan
çiçekler,patlıcan moru,kiremit kırmızısı,karanfil,bahar dalı,İznik
renkleri,İznik desenleri,İznik renklileri, İznik mavi
beyazları,İznik mavi beyazı, İznik çinileri ,İznik karoları,İznik
panelleri,İznik panoları,İznik tabakları,İznik vazoları,İznik tabak,
İznik seramik,İznik seramikleri,çinilerin en güzel örnekleri,en
kolay çini hediyeler İznik çini ve seramikleri,Kütahya çini ve
seramikleri,Kütahya renkleri, Kütahya desenleri, Kütahya renklileri,
Kütahya mavi beyazları, Kütahya mavi beyazı, Kütahya çinileri ,
Kütahya karoları, Kütahya panelleri, Kütahya panoları, Kütahya
tabakları, Kütahya vazoları, Kütahya tabak Kütahya seramikleri,
Kütahya porselen, Kütahya porselenleri , Kütahya seramik,Sultan
Ahmet camii,Takkeci İbrahim Ağa camii,cami,Atik valide
camii,cami,Sultan 1. Mehmet türbesi bursa,Yeşil Türbe ,bursa,Yeşil
cami Bursa,camii,2.Murat camii,cami Edirne,Çoban Mustafa Paşa
Türbesi Gebze,Şehzade Mehmet Türbesi, Süleymaniye camii,cami,Rüstem
paşa camii,cami,Hürrem Sultan Türbesi,Ramazanoğlu cami Adana,Topkapı
sarayı sünnet odası,Sultan Süleyman Türbesi,Sultan selim camii,Selimeye
camii Edirne,2.Selim Türbesi,Topkapı Sarayı,Nurbanu Valide camii
Üsküdar,3.Murat Odası topkapı sarayı,Eyüp Sultan Türbesi,Eyüp Sultan
camii,3.Murat Türbesi,Hekimoğlu Ali Paşa cami,Sokullu Mehmet Paşa
cami,Kılıç Ali Paşa camii,Bosnalı İbrahim Paşa Türbesi,Şehzade Paşa
cami,Piyale Paşa cami,Ramazan Efendi (Bezirgan) camii,Takiyyeci
İbrahim Ağa cami,takyeci İbrahim ağa cami,takieci İbrahim ağa cami,kaşici,hatayi,çini
ve seramik ürünleri,çini sanatı,Osmanlı çini sanatı,
THE ART OF
TURKISH TILES AND CERAMICS The
art of Turkish tiles and
ceramics occupies a place of prominence in the history of Islamic
art. Its roots can be traced at least as far back as the Uighurs of
the 8th and 9th centuries. Its subsequent development was influenced
by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. With
the Seljuks' victory over the Byzantines at Malazgirt in 1071, the
art followed them into Anatolia and embarked upon a new period of
strong development fostered by the Anatolian Seljuk sultanate. The
Anatolian Seljuks were of course influenced by the cultural heritage
they encountered in their new homeland, adapting them to the
techniques that they had brought with them from the Iranian plateau.
This resulted in a distinctively Anatolian style of Seljuk
architecture that was in full bloom by the 13th century. Seljuk
mosques, medreses (theological academies), tombs, and palaces were
lavishly decorated with exquisite tiles. Examples of such tile-clad
structures can still be seen in the Seljuks' capital city of Konya
as well as in the cities of Sivas, Tokat, Beysehir, Kayseri,
Erzurum, Malatya, and AlanyaThe most frequently-encountered type of
architectural decoration during the Anatolian Seljuk period involved
the use of glazed brick in which glazed (and also unglazed) bricks
were arranged to produce a variety of patterns, mostly on the
facades of buildings. Turquoise was the most frequently-used color
for glaze although cobalt blue, eggplant violet, and sometimes black
were also popular.A type of architectural decoration used in
conjunction with glazed brick was hexagonal, triangular, square, and
rectangular monochrome tiles. Unlike brick, these were preferred for
indoor applications and were suitable for a multiplicity of
geometrical arrangements. Tiles were made from a paste that was
harder and more yellowish than that of bricks. Turquoise, cobalt
blue, violet, and (sometimes) green glazes were used.There are rare
examples with traces of gilding.A third technique in which the
Anatolian Seljuks were skilled was that of mosaic tile. This was
also employed in interiors, especially in mihrab niches, the
interiors of domes, transitions to domes, vaults, and walls. Tile
mosaic is formed by pieces of tile cut to shapes to fit the pattern
intended. The unglazed surfaces of the tesserae are slightly conical.
The pieces were arranged glazed-side down after which a whitish
mortar was poured over them. When it had set, the resulting plate or
panel could be installed where desired. Mosaic-tile compositions are
generally geometrical but floral motifs and Kufic or Thuluth
calligraphy are also found. The most popular colors were turquoise,
cobalt blue, eggplant violet, and black. Examples of Anatolian
Seljuk buildings decorated with mosaic tile are Karatay Medrese
(Konya, 1251), Alaaddin Mosque (Konya, 1220), Gok Medrese and Mosque
(Sivas, 1271), the Malatya Grand Mosque (1247), and Ince Minareli
Medrese (Konya, 1264 ).In addition to these techniques, which, along
with underglaze, appear in religious and funerary architecture,
there were two techniques employed only in civil and palace
architecture: minai tiles and luster tiles. The forms of these tiles
were also different, the favorite shapes being stars and crosses;
instead of geometric patterns, vegetal scroll and lively figurative
compositions were used. The minai technique was developed in Iran in
the 12th and 13th centuries mainly in ceramics. The only place in
Anatolia were tiles of this type have been found is Alaeddin Kiosk
in Konya. The palette of colors that this technique offers is much
greater and one finds shades of violet, blue, turquoise, green, red,
brown, black, and white as well as gilding. Some colors were applied
under the glaze and then fired; others were applied over the glaze
which then received a secondary opaque white, transparent, or
turquoise glaze and was fired again. The designs of minai tiles are
lively and reminiscent of miniatures with themes taken from palace
and court life. In underglaze tiles, the designs are painted onto
the surface, which is then glazed before the tile is fired. This was
the technique most commonly used by the Anatolian Seljuks. The
preferred colors were turquoise, cobalt blue, green, violet, and
black. Instances of black-decorated tiles under a turquoise glaze
are also found. Fine examples of these tiles have been discovered at
the excavations of the Kubadabad Palace in Beysehir, where the tiles
are decorated with plant motifs as well as with figures of human
beings and animals The luster technique first appeared in Abbasid
Iraq. Later developed to a high level by the Fatimids in Egypt, it
was successfully employed by the Iranian Seljuks. The only place in
Anatolia where luster tiles have been found is Kubadabad. The tiles
discovered at the excavations of the palace are now on display at
the Karatay Medrese Museum in Konya. Luster tiles are decorated in
an overglaze technique in which the design is painted with lusterĞa
mixture of metallic oxides incorporating silver and copperĞonto a
previously glazed and fired surface. The tiles are then given a
second firing at a lower temperature producing a range of lustrous,
mostly brownish and yellowish tones. Seljuk palace luster tiles are
decorated with plant motifs as well as with human and animal
figures. Anatolian Seljuks sometimes used square, rectangular,
hexagonal, and triangular tiles to cover interior walls. These tiles
are plain, with turquoise, violet, or cobalt blue being the chief
colors applied in the underglaze technique. Sometimes the traces of
overglaze gilding are to be found; however because the gilding was
fired at a low temperature (or not fired at all), it was not durable
and has mostly disappeared. Excavations carried out in 1965-66 at
Kalehisar near Alacahoyuk have revealed important evidence of the
Seljuks' ceramics industry in the 13th century. Two kilns were
unearthed along with a substantial quantity of kiln material and
incomplete and spoiled examples of ceramics decorated with the
sgraffito and slip techniques. In the sgraffito technique, the
object is allowed to dry to leather-hardness after which the design,
usually plant and floral motifs, is incised into the surface, which
may or may not be given a coat of slip beforehand. The resulting
design is then covered with a transparent glaze of a different color
and then the piece is fired. In the slip technique, the design is
painted onto a red-paste surface using diluted white slip to produce
a slightly molded effect. The surface is then given a coating of
transparent glaze colored blue, green, or light or dark brown and
then fired. During the firing, the areas decorated with slip assume
a lighter shade of the glaze color, which appears darker in the
ground. Motifs are stylized plant motifs and sometimes simple rumi
(arabesque scroll) These underglaze-decorated ceramics and tiles
were decorated with a rich palette of shades of cobalt blue,
turquoise, green, black, brown, and the famous 'coral' or tomato
red, the last of which appears in a slight relief resembling
sealing-wax. In tiles, this red appeared for the first time in
Suleyman I's great mosque, the Suleymaniye (1557), in Istanbul.7 But
other tiles in the same style were to grace numerous monuments
erected in Istanbul during the years that followed: the Tomb of
Hurrem Sultan (1558), the Mosque of Rustem Pasa (1561), the Tomb of
Suleyman I (1566), the Mosque of Sokullu Mehmed Pasa (1572), the
Mosque of Piyale Pasa (1573), and the Valide Atik Mosque (Uskudar,
1583). Although the traditional designs of stylized plant motifs,
arabesques, and Chinese clouds appear in the compositions, there is
a shift towards a more naturalistic style in which tulips,
carnations, hyacinths, roses, spring blossoms, lilies, cypress
trees, and clusters of grapes and vine leaves appear. Compositions
are relaxed and free, offering greater scope for experimentation
with new and richer arrangements. (figure 10). Different styles of
calligraphy adorn the tile friezes on monuments; on utensils we find
images of ships, 'rock-and-wave' motifs, triple-spots, animal
figures, and fish-scale patterns. There is also a proliferation in
vessel forms of which deep and footed bowls, vases, ewers, dishes,
lamps, candle-holders, and mugs are but a few Around the middle of
the 17th century, the quality of the Iznik potteries began to feel
the impact of the economic distress and political upheavals from
which the Ottoman Empire had begun to suffer. Colors become dull,
the famous tomato red turns brown and even disappears entirely.
Designs become crude and are haphazardly executed. Pastes become
coarse and glazes suffer from cracking. During this period the Iznik
manufactories apparently turned their attentions more and more to
the demands of customers who were less finicky than the Istanbul
court and its circles. There is even evidence, in the form of
written complaints, that orders placed by the court in Istanbul were
being delayed.8 By the 18th century, the ceramic industry in Iznik
had died out completely and Kutahya replaced it as the leading
center in western Anatolia. Indeed, Kutahya had been in operation as
a secondary center along with Iznik since the 14th century 9 but its
production always paled in Iznik's brilliance. But where production
at Iznik was discontinued, Kutahya plodded on. For a while, the
Kutahya potters produced inferior copies of Iznik blue-and-whites
but they also began producing ceramics whose forms, colors, and
techniques are quite distinct. Among them are a group of Christian
liturgical utensils and tiles with religious themes that were made
by Armenian potters for their churches. 18th-century Kutahya
ceramics are made with a white paste and are usually decorated with
underglaze-applied designs in yellow, red, green, cobalt blue,
turquoise, black, and violet. The designs are freely executed. In
addition to polychrome wares, examples of blue-and-whites are also
encountered. Forms, which can be elegant, include thin-walled small
cups, saucers, bowls, ewers, pitchers, flasks, incense-burners,
lemon-squeezers, and ornamental eggs. During the first half of the
19th century, Kutahya's ceramics industry suffered a downturn from
which it slowly recovered during the second half and into the early
part of this century. Thus do we find examples of Kutahya-made tiles
decorating a number of late-Ottoman buildings. The tiles on the Tomb
of Sultan Mehmed Resad V in Eyup (Istanbul, 1918) for example were
made at the manufactory of Hafiz Emin Usta, which was then operating
in Kutahya. Many examples of Kutahya ceramics from this period are
to be found in museum and private collections in Turkey. The
difficult straits into which the Iznik industry had fallen in the
18th century inspired some in Istanbul to establish a reliable
source of tiles that was closer to home and easier to control.
Ibrahim Pasa, a grand vizier during the reign of Ahmed III
(1703-1730), had a tile-making factory set up at Tekfur Sarayi in
Istanbul. The output unfortunately was incomparably inferior to that
of Iznik: designs were poor copies of Iznik originals, glazes had a
blue cast and were flawed, and colors were dull and lifeless. Tile
manufacturing at Tekfur Sarayi lasted thirty years or so and the
enterprise was generally regarded as a failure. Nevertheless some of
its output was used in buildings in Istanbul such as the Hekimoglu
Ali Pasa Mosque (1734), the Yeni Valide Mosque (Uskudar, 1708), the
Cezeri Kasim Pasa Mosque (Eyup, a restoration done in 1726 of a
mosque originally built in 1515), and Kandilli Mosque (1751). There
is also a hearth, now in the Victoria and Albert Museum in London,
whose tiles were made at Tekfur Saray. There is a third important
group of Turkish ceramics that are quite different from both the
sublime products of Iznik and the humbler wares of Kutahya.
Canakkale ceramics have begun attracting the interest and attention
of researchers and collectors more and more in recent years. The
earliest examples of these ceramics can be dated to the end of the
17th century. Fairly good-quality wares continued to be produced up
until the beginning of the 19th century. Pastes tend to be
coarse-grained and are red (sometimes beige). Designs consist of
underglaze spots, simply-drawn ships, flowers, fish, birds, and
buildings that are applied free-hand. Colors are a purplish dark
brown, orange, yellow, dark blue, and white. The most common forms
are dishes, plates, and jars. During the 19th century, quality
dropped off sharply. Forms from this period consist of jars, ewers,
jugs, vases, flower-pots, and candle-holders as well as animal and
human figurines. Only a single-color glaze was used in these
ceramics and there are instances in which black, white, blue, red,
yellow, or gilded designs were applied over the glaze.10 Ceramic
manufacturing at Canakkale was still being carried out as late as
the middle of the 20th century. To summarize, the art of Turkish
tile and ceramic-making developed over the centuries incorporating
many different techniques and styles. Enriched by the arrival of the
Seljuks, the ceramic industry in Anatolia achieved a deservedly
worldwide reputation with the support of the Ottoman court. Today,
Kutahya has been revived as an important center of tile and
ceramic-making. In addition, efforts are also being made in private
workshops and educational institutions in Iznik, Istanbul, and Bursa
to keep the art of traditional Turkish tiles and ceramics alive and
develop it so that it can address the demands of modern-day life.
Associate Professor Dr. Sitare Turan Bakir
Mimar Sinan University Department of
Traditional Turkish Arts |
