About Art Of Iznik Quarts Tile

EARLY PERIOD There were thirteen different manufacturing techniques during early period from 9th century to 13th century. These techniques are glazed and non-glazed tiles, embossed (in relief), barbotine (appliqué) technique, open work (mesh), kasitras (glaze scratching), lacvardina, monochrome glazed, mosaic technique, colored glazing technique, minai (a combine process of under glazing and over glazing techniques), luster technique, sgrafitto technique and slip technique. With the Islamic tiles glazing techniques differs according where they were produced such as Rakka, Esfahan, Curcan, Kasan, etc. The only manuscript on early period tiles is “cevahir-ül feraiz atacih’ün nefais (nice scents and valuable essences)” by Ebul Kasım of Kasan which also called “guide for glazed tile production”. The book explains the techniques used in the production of glazed tile in verses.

Classical period of glazed tile art began with the coming of Seljuk to Anatolia, carrying all ceramic production techniques of the Great Seljuk era. In the era following the period of Beyliks which had been experienced after the downfall of Great Seljuk and Anatolian Seljuk, Ottomans carried those production techniques on and also they started to imitate China porcelain by using under glazing technique. Consequently, glazed ceramic culture in Anatolia emerged as a synthesis of ceramic cultures of near east, far east and other civilizations who once reigned over Anatolia. Manufacturing then turned completely to under glazing motifs during Ottoman era due to easy application and aesthetic appearance. With under glazing technique, the motif is applied to the baked dough by using coal dust. After the countoured motifs were painted with under glazing paints the surface are covered with colorless glaze.

With the increase in monumental structures in architecture and due to Architect Sinan’s choosing glazed tiles in his works led to serial production of tiles and with the support of the Palace increased the production of glazed tiles in Iznik which is the home of glazed tile since prehistoric eras.

LATE PERIOD iznik production center stopped its operation by the late of 17th century and Kutahya was left as the only production center in which only daily use ceramics were produced. In the era called Tulip Era there were efforts to revive the art of glazed tiles in Istanbul which led to the production of wall tiles as well as tiles with Kabaa motif for Tekfur Palace by the artisans brought from Iznik and Kutahya.

Although the factory established with the machines brought from Germany, during reign of II.Abdülhamit porcelains as well as wall tiles for repair purposes were produced in Yıldız Palace, the announcement of second constitutional period in 1908 and then deposition of the sultan and the following wars brought the production to an end and only in 1950s the factory has finally began to production again under the management of Sumerbank. MODERN PERIOD (PRESENT) Reviving efforts of iznik glazed tile has begun with the Faik Kirimli coming to iznik to establish a glazed tile furnace in 1980. Faik Kirimli has never received any support in his efforts to restart the glazed tile production in Iznik so he had to move his efforts to Kutahya. Thanks to invitation of Esref Eroglu, second greatest glazed tile artisan of Iznik, Faik Kirimli who signed his work as “Work of Faik” had visited Iznik for the second time.

The date of first ignition of the furnace with the Faik Kirimli’s glazed tile motifs in the garden of Esref Master is 1985.

The glazed tiles produced by Faik Kirimli were proved as “authentic tiles” by the test report of Material Lab of Civil Engineering Faculty, Istanbul Technical University, dated 20/12/1974-354 which was run for the tile samples to be used in Ankara Kocatepe Mosque. To the fire ignited by Faik Kirimli-Esref Erooglu for reviving the glazed tile in Iznik was joined by Rasih Kocamanoglu who entered the glazed tile world in 1985 in Avanos.

In summary, the first generation of new glazed tile era in Iznik constituted of works of Faik Kirimli-Esref Eroglu and Rasih Kocamanoglu. Anikya Iznik Çini, in order to maintain the fire ignited by the said three artisans and to convey the art to the next generations, continues to production of Iznik glazed tiles in traditional techniques and leading the efforts to revive the art by opening new usage fileds for Iznik glazed tile with modern designs.