Turkish ceramics were named as “Çînî (Chinese style)” after Sultan Mehmet II period.
Ceramic production activities ceased in İznik at the beginning of the 18th century. After a short period, similar activities were started in atelliers in Tekfur Palace in İstanbul, but the old quality could not be achieved.
Due to two unique features, admiration to ceramics boosted in 16th century Europe and Ottoman İznik Ceramics became the most expensive antique collection objects at the second half of the 19th century. These were:
- Half-stiff quartz clay and slip which made İznik ceramics durable to centuries and formed the basis of the shining glaze;
- The attractiveness of the “universal flower language” of the naturalist design synthesis of the Ottoman artists applied with a rich underglaze color palette.
Ottoman period ceramics, produced as tile in architecture, kitchenware and creative objects. Decoration was applied with vivid transparent underglaze dyes over a white body.
Motifs used in Iznik ceramics: Rumî-Hatayî ivies, with the discovery of red color by the end of 16th century “the quatre fleurs style” tulip, hyacinth, carnation, rose; prunus blossom/blooming plum tree/spring branch, rosette, symmetrical flower bouquet, ear bundle style, vase with flowers, bunch of grapes, bunch of lotus, kaleidoscope symmetry; and by the beginning of the 17th century designs with ships, animals and humans and designs with a fishscale background can be observed. Colors: White background, overlayed red, dark blue, turquoise, sky blue, chromium green, manganese purple, yellow, grass green in the black contoured patterns.