REVIVAL OF IZNIK TILES AFTER 300 YEARS Iznik is located on the banks of the lake of the same
name in the province of Bursa in the northwestern part
of Anatolia. In antiquity it lay within the borders of
the Bithynian region. One legend says that the town was
established on the return of the God Dionysus from India.
According to another legend, Iznik was colonized by the
soldiers who escorted Alexander the Great (356-323 B.C.)
during his conquests. When Antigonas Monophthalmus founded the city in 316
B.C., there was already a settlement of the Bottiaei people
here, called Elikore, but Antigonas called the town Antigoneia
after himself. After the battle of Ipsus (301 B.C.), one
of Alexander’s generals, Lysimachus (360-281 B.C.), took
the city and named it after his wife Nikaia, the daughter
of the Macedonian leader, Antipatros. Throughout the centuries
the name Nikaia went through slight phonetic changes,
becoming first Nicea and eventually Iznik in Turkish times.
In the course of its history from 316 B.C. to the presentday,
Iznik presents a picture of a city which has undergone
great cultural and architectural changes. In the true
sense of the word, Iznik is an archaeological and historical
art laboratory of the Romans, Byzantines, Seljuk and Ottoman
Turks.
Following the recent excavations
of Iznik kilns on the site, Prof. Aslanapa and
Prof. Altun have clearly observed that the Ottoman
ceramics in Iznik had a Seljuk background. The
latest research and analysis have revealed that
the white pasted hard ceramic consists of the
same material as the soft porcelain used in the
Ottoman Period. At first, blue and white were
the prevailing colors in the pots and wall tiles
in this category. During the 16th century, the
turquoise was introduced. The embossed red of
the wall tiles of the mihrab of Süleymaniye Mosque
(1555) marks the peak of Ottoman tiles and ceramics.
During the Ottoman era, the Iznik tiles and pottery
were exported to other countries via the Island
of Rhodes, which was then under Turkish rule.
Evliya Çelebi, the famous Turkish traveller, mentions
the existence of 300 workshops in Iznik during
the 17th century. This number, also justified
by the excavations, gives us an idea of the importance
of tile production in this town. Various reasons
have been put forward with regard to the decline
of tile production in Iznik. The most widely accepted
theory is that the demand from Istanbul for the
use of these tiles in major public buildings such
as mosques and palaces had fallen during the period
of decline of the empire. In the beginning of
the 20th century, the population of Iznik was
composed of Turks as well as small ethnic minorities
such as Greek and Armenians involved in farming
and silk production.
During the Turkish war of Independence, Iznik
went through turbulent times. The town was invaded
by Greeks in September 1920, and towards the final
stages of the war it was burnt to the ground by
the defeated invaders and the inhabitants had
to flee. With the declaration of the Turkish Republic,
Iznik became home for an influx of Turkish immigrants
from Greece and Thrace. The Characteristics of Iznik Tiles
Iznik Tiles are admired worldwide for the following
reasons :
-Iznik Tiles are made on a
very clean white base with hard backs and
underglazed decorations in a unique technique.
-70-80 percent of an Iznik tile is composed
of quartz and quartzite. Its beauty arises
from the harmonious composition of three successive
quartz layers and a paste-slip-glaze combination
which is extremely difficult to bring together.
The mixture of quartz, clay and glaze disperses
in a very wide thermic spectrum at 900 centigrade.
After painstaking research, the problem of
the fluctuating thermal behavior of the tiles
due to their quartz and rock crystal composition
is solved. The result is a tile made primarily
out of a semi-precious stone: quartz.
-Even though it may appear to be against the principle
of “ceramic textural unity”, the porous structure of the
tiles cause dilatation or shrinkage in hot, cold or freezing
conditions. It is said that this particular aspect of
the structure “allows it to breatle”.
-In Iznik tiles, one can observe colors resembling those
of semi-precious stones such as the dark blue of lapis
lazuli, the blue of turquoise, the redness of coral, the
green of emerald.
-Some of the colors observed on the tiles and utensils,
particulary the coral red, are very hard to obtain and
apply. To obtain all of these colors, the cornea white
and opaque sheen glazes are required. The slightly opaque
quality of the glaze on the tiles absorbs light and reduces
strain on the eyes. It not only protects the tile but
also help it breathe.
-The figures on the tiles and utensils reflect allegorical
and symbolic characteristics and the flora and fauna of
the region. The geometrical designs can be interpreted
almost cosmologically as a general description or depiction
of the world or the Universe. They blend beautifully with
the surrounding architectural constructions in which they
are found, and are never overpowering or overstated, but
always tend towards a timeless discretion and moderation.
-The inscriptions and the writings on the tiles never
consist of egocentric or aggressive texts; rather, they
present the ideology and philosophy of Islam.
-The Foundation researchers have been using the classical
Iznik tile designs on the productions, reviving the mystery
of the creation of the Iznik tile. Throughout the production
processes, the main objective is to master the traditional
technological methods rather than embrace those of our
own day. In order to preserve the authenticity of the
Iznik tiles, the Iznik Foundation utilizes raw materials
that are akin to those of the 16th century.
-The production of the Iznik tile, which is the complete
opposite of the current ceramic technology is fundamentally
based on the natural synthesis of its various Iznik Tiles, The Revival
Iznik became the center of worldwide attention once again
when the year 1989 was declared the year of Iznik. Several
activities relating to Iznik took place; a symposium,
an international exhibition and the publication of two
books. Finally, the Iznik Foundation was established in
September 1993.
Iznik Tiles Today Iznik tiles reached their heyday in the 16th century,
and the masterpieces produced at that time are regarded
as the most valuable specimens of the art of ceramics
by the leading museums of the world.
Iznik Kiln excavations, carried out for more than 20
years by the Istanbul University Department of Archaeology
and History of Art, give us clues as to the types of
kilns and ceramics used in the Art of Iznik tile making.
In the Iznik Tiles Atelier opened in mid 1996, following
the opening of the Iznik Foundation in 1993 and the
Tile and Ceramic Research Center in 1995, it is now
possible to produce tile nearly equaling the quality
of those of the 16th century.
Obviously, to reach this point, many experiments were
made and everything about Iznik tiles was investigated,
since the old masters took the secrets to their graves,
with the result that even the slightest clue to their
manufacture lay conceale for centuries.
The composition of the tiles and the percentage of
the components within the microstructure of the material
are carefully studied. The availability of these materials
and reserves within the region are considered.
Following the excavations, it is observed that Iznik
tile production was fire high on wastage owing to the
large proportion of quartz in the ceramic. Similarly,
a number of experiments with the minerals in the area
was carried on in the course of which thousands of experimental
plates were produced only to be broken and thrown away.
The most unfortunate setback the Foundation has had
to face has been the absolute lack of documentation
regarding the process. Not even the names of the towns
and villages where the materials originated were known.
Thus, the conclusion was arrived at that only through
the most meticulous scientific research could unified
Iznik tile concept be formed.
In its efforts, the Iznik Foundation has received the
support of scientific foundations and NGO' s such as
TÜBITAK, M.A.M. (Marmara Research Center), I.T.Ü. (Istanbul
Technical University), I.Ü. (Istanbul University), in
Turkey, and Princeton and M.I.T. (Massachusetts Institute
of Technology) in the United States in a vast range
of analysis.
The production of handmade tiles of the desired quality
in this era of speed and automation is a particularly
difficult task.
Today, Iznik tiles are used as an architectural element
in old and modern buildings by the discriminating decorator
and art-lover alike.
The Objective of the Foundation:
The Iznik Foundation is established with the aim of introducing
to the world the cultural and artistic aspects and heritage
of Iznik and its environs and transferring this heritage
to future generations through systematic educational programs.
The Iznik Foundation is composed of three entities: Vocational
Center, Tile-Ceramics Research Center and the Tile and
Ceramics Atelier. It also has a liaison office in Kuruçesme,
Istanbul.
The Iznik Foundation is primarily concerned with the revival
of the traditional art of underglazing.
Presently, the Foundation is not only
capable of reproducing 16th century masterpieces, but
also of continuing the tradition of the ancient masters
in such a way that the end product is equal or better
in terms of quality. The support for all the work comes
from the aforesaid excavations, and from scientific
research conducted by scholars. It can be stated that
the first successful examples have been highly appreciated
in Turkey as well as abroad.
It is of great importance that Iznik tile manufacture
is adapted to presentday technology, without spoiling
the inherent quality and aesthetic value which have
made the 16th century Iznik tile renowned in the world
of ceramics. To this end, the Iznik Foundation is sponsoring
excavations and research on the archeology and art history
of Iznik. One other activity is to scan the inventories
in museums and architectural works of old Iznik tiles
both in Turkey and abroad, and to establish a documentation
center. Each year the Foundation prepares calendars
with different tile compositions taken from historical
buildings and source documents.
A second Iznik Tile Exhibition is being planned for
1999, ten years following the first one, along with
an exhibition of new examples on the occasion of the
celebration of the 700th anniversary of the Ottoman
Empire. So far 70 young graduates, have been issued
certificates by the Iznik Foundation on a course on
tile decoration given free of charge. A summer school
is to be opened for students both from Turkish and foreign
Universities. The Iznik Foundation is also planning
a prospective University in Iznik with emphasis on archaeology,
art history and ceramics.
The Ultimate Goal, Iznik University:
Orhan Gazi (1326-1362) is known to be the founder of
the first “medrese” (theological college) in the Ottoman
Empire.
He established “medreses” in Iznik, Bursa, Akçaova,
Sapanca and Izmit to which the most renowned scholars
or “müderris” of the period were appointed. This led
to the creation of other education centers in the Ottoman
Period.
The conquest of Iznik in 1331 was followed by the opening
of the first medrese and the mosque in the city.
Davudu Kayseri was appointed to the position of “müderris”
at the aforementioned institution in 1333. This was followed
by the Süleyman Pasa Medresesi, which was built before
1357 and still survives in its original state and by the
Hayrettin Pasa Medresesi the portico columns of which
can be seen on the north of the Green Mosque in Bursa.
The Iznik Foundation aims at restoring the site to its
former importance as a cultural center by the establishment
of a university in Iznik.
