Iznik pottery - Knowledge

1759: 359:; one, dated 1529, refers to the commissioner of the vessel, Bishop Ter Martiros, the other refers to the vessel as being sent as "an object of K'ot'ays" for a monastery. Lane argued that it was unlikely that either the 'Abraham of Kutahia' ewer or the water bottle had been made in Kütahya. However, subsequent archaeological excavations in Kütahya have unearthed fragments of pots in the blue and white Iznik style that had been damaged during manufacture ('wasters') providing evidence that fritware pottery was produced in the town. The designs, materials and manufacturing technique appear to have been similar to that used in İznik. Kütahya is further from Istanbul with less easy access to the capital and was probably only a small pottery producing centre in the 16th century. Nevertheless, it is likely that some of the pottery that is currently labelled as 'Iznik' was manufactured in Kütahya. The art historian Julian Raby has written: "For the moment we have no choice but to call all Ottoman glazed pottery of the 16th and 17th centuries by the generic label 'Iznik', and to hope that in time we can learn to recognise the diagnostic features of contemporary 'Kütahya ware'." 1528: 1623: 1647: 1771: 1009: 1239: 820: 1216: 1544: 1156: 1580: 1441: 1635: 1369: 1473: 1108: 192: 752: 340: 1516: 1409: 970: 20: 1092: 40: 1683: 997: 1397: 1556: 982: 1671: 1743: 942: 1140: 201: 1425: 1354: 1124: 958: 1381: 1599: 768: 1659: 1568: 1453: 783: 4225: 1731: 740: 1611: 1025: 795: 433: 546:

the final vessels to have slightly angular shapes. Dishes were almost certainly made using a mould attached to a potter's wheel. A lump of fritware paste would have been rolled out into a sheet much like when a cook rolls out pastry. The sheet would have been placed on the mould to form the inside of the dish. The underside of the dish would have been shaped using a template as the mould was rotated on the wheel. When the paste was partly dry the foliate rim would have been sculptured by hand.

636: 486: 870:(1520–1566), demand for Iznik wares increased. Jugs, hanging lamps, cups, bowls and dishes were produced, inspired by metalwork and illuminated books as well as Chinese ceramics. Many large dishes were made with looser designs, incorporating ships, animals, trees and flowers. The dishes appear to have been made for display, as most have pierced footrings so that they can be hung up, but they have been observed also to be scratched from use. Designs in the 1520s include the 675:

the term 'Baba Nakkaş ware' after the name of the leading designer attached to the Imperial court in Istanbul. The earliest surviving Iznik fritware objects, dating from probably around 1480, are believed to be a group of vessels painted in a dark cobalt blue in which much of the dense decoration is in white on a blue background. The vessels have separate areas of Ottoman arabesque and Chinese floral designs. The combination of these two styles is referred to as

550: 331:, published an influential article in which he reviewed the history of pottery production in the region and proposed a series of dates. He suggested that 'Abraham of Kütahya' ware was produced from 1490 until around 1525, 'Damascus' and 'Golden Horn ware' were produced from 1525 until 1555 and 'Rhodian' ware from around 1555 until the demise of the Iznik pottery industry at the beginning of the 18th century. This chronology has been generally accepted. 1702:

16th century increasing quantities of Chinese porcelain were imported into Turkey. The İznik craftsmen failed to compete with the high quality imports and instead produced pottery with crudely painted rustic designs. Although the Chinese imports did not compete with locally produced tiles, there was little new imperial building and therefore little demand. Even when the court required tiles such as for the mausoleum of

1085:(AD 1549). The lamp is decorated in green, black and two shades of blue. The design includes pale blue cloud-banks, small-scale arabesques on a green ground and a row of tulip buds in dark-blue cartouches. The lamp can be used to date a group of other vessels including some large footed basins. Although the basins are quite different from the lamp in overall style, each basin shares motifs present on the lamp. 130:. 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 390:(dry cord) technique, but in a few cases the tiles were underglaze painted in cobalt blue and turquoise. The cuerda seca technique created a new way to glaze these tiles while not requiring the intense labor previous techniques had. These underglaze tiles were used on the revetments of the facade of the Holy Mantle Pavilion (Privy Chamber) in the grounds of the 1313:, the surfaces in the interior and the façade under the portico at the entrance are all lavishly decorated with tiles. More than 80 different designs are used. Most of the tiles are in panels of repetitive patterns where each tile is identical to the others. The mosque is the first with the Kara Memi inspired red tulips and carnations. The 1343:(1562). With the exception of a tiled panel above an external doorway which was added at later date, none of the tiles in the Rustem Pasha Mosque include green in their decoration. The bright emerald green was introduced for the first time on the portico panels of Süleyman's mausoleum in the funerary garden of the 1048:, and form a transition towards full-fledged polychrome ceramics. They were mistakenly believed to have originated from Damascus by art collectors in the second half of the 19th century. The name is particular misleading as tiles with a similar palette of pastel colours and floral designs were made in 1701:

Towards the end of the 16th century there was a marked decline in the quality of the pottery produced in İznik. This has been linked to the loss of patronage by the Ottoman court and with the imposition of fixed prices in a period of inflation. Another important factor was that from the middle of the

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where the walls are covered with hexagonal tiles set on their points. The tiles are decorated with arabesques and floral motifs painted in blue, turquoise, olive green and purple. There are nine different designs. The tiles were originally installed in a different building but were transferred to the

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in the early 1930s. As Miletus had a long history as a pottery producing centre, it was erroneously assumed that the pottery was produced locally and it became known as 'Miletus ware'. It is now believed that İznik was the main centre for the production of 'Miletus ware' with smaller quantities being

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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

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Associated with this switch to tile production were important changes in the aesthetics. A bright red colour was introduced by the use of an iron containing bole applied as slip under the glaze. The red colour would become a common feature of Iznik tiles and pottery. The first building to have tiles

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The two most prevalent colors on the dish are white and blue, which is a direct influence of Chinese art. The base of the ceramic is white color so that the blue intricate designs will display great contrast. The blue color used on the dish is striking, allowing the delicate vegetal designs to power

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Miletus ware used a red clay body covered with a white slip which was painted with simple designs under a transparent alkaline lead glaze. The designs were usually in dark cobalt blue but also sometimes in turquoise, purple and green. Many dishes have a central rosette surrounded by concentric bands

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is decorated with tiles painted with a thin brownish red but in other parts of the mosque there are tiles with the thick sealing-wax red relief. The purple used on 'Damascus ware' did not combine well the red bole and only a few monuments use both colours. Purple is used with red in the tiled panel

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In the final decades of the 15th century, potters in Iznik began producing blue-and-white fritware ceramics with designs that were clearly influenced by the Ottoman court in Istanbul. There are no surviving written documents that provide details on how this came about. The earliest specific mention

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As the fritware paste lacked plasticity and was difficult to work on the wheel, vessels were seldom made in one piece. Instead they were formed in separate sections that were allowed to dry and then stuck together using the fritware paste. This additive technique meant that there was a tendency for

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wall. The repeating rectangular tiles have a stencil-like floral pattern on a white ground. The flowers are mainly blue but there is also turquoise, black and red. Outside the mosque on the north facade within the courtyard the windows have rectangular Iznik tile lunettes panels with text from the

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The term 'Abraham of Kütahya ware' has been applied to all the early blue-and-white Iznik pottery as the 'Abraham of Kütahya' ewer, dating from 1510, is the only documented vessel. The art historian Julian Raby has argued that the term is misleading as the ewer is atypical and has instead proposed

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The fritware body was coated with a thin layer of white slip. This had a similar composition to the fritware paste used for the body, but the components were more finely ground and more carefully selected to avoid iron impurities that would discolour the white surface. It is likely that an organic

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it was assumed, erroneously, that the pottery had been manufactured on the island and the term 'Rhodian' ware was adopted for this style. European collectors also purchased a number of pieces decorated in blue, turquoise, sage green and pale purple which were believed to originate from the town of

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glass lamps. There was a tradition of hanging pottery lamps in mosques dating back at least to the 13th century. The opaque pottery lamps would have been completely useless for lighting and they instead served a symbolic and decorative function. The lamps from Bayezid II's mausoleum are decorated

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area of Istanbul. It was later realized that the pottery was made in İznik as some motifs on the vessels closely resembled those used on other blue-and-white Iznik pottery. The decoration consists of a series of thin spirals adorned with small leaves. The narrow rims of dishes are painted with a

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in Iran was an important centre for the production of fritware. Abū'l-Qāsim, who came from a family of tilemakers in the city, wrote a treatise on precious stones in 1301 that included a chapter on the manufacture of fritware. His recipe specified a fritware body containing a mixture of 10 parts

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were the specialist calligraphers in the Ottoman court. The earlier vessels were painted in cobalt blue while later vessels often include turquoise, olive-green and black. A number of dishes dating from this period show the influence of Italian pottery. The small bowls and a large flat rims are

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The 1520s was a period which saw the spiral-decorated ‘Golden Horn’ wares with their close link to imperial manuscript illumination, and the close relationship between imperial architecture and pottery vessels produced at Iznik, and an adaptation of Chinese porcelain designs represented by the

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Archaeological excavations in İznik conducted by Oktay Aslanapa in the early 1960s revealed that the town had been an important centre for the production of simple earthenware pottery well before the introduction of the blue-and-white fritware. The excavations uncovered fragments of what is

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of the Topkapı Palace. Although the building dates from 1641, the tiles are believed to come from an earlier structure on the same site that was erected in 1527–1528. These large tiles are decorated with very elaborate designs that suggests the close involvement of the court designers.

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mosque lamp of 1549 until 1606/7. Many Iznik tiles survive on buildings of known date and although the designs generally differs from those used on pottery, it is often possible to determine an approximate date of a vessel by comparing the composition and motifs with those on tiles.

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From the second half of the 19th century until the 1930s European collectors were confused by the different styles of Iznik pottery and assumed that they originated from different pottery producing centres. Although it is now believed that all the pottery was produced in Iznik (or

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to 1 part glass frit and 1 part clay. There is no equivalent treatise on the manufacture of Iznik pottery, but analysis of the surviving pieces indicates that the potters in İznik used roughly similar proportions. In Kashan the frit was prepared by mixing powdered quartz with

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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

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and Akçaalan. The excavations have not provided a clear date for the pottery but it is assumed to belong to the 15th century. The archaeological evidence from other sites in Turkey suggests that Miletus ware was produced in large quantities and widely distributed.

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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

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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

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built between 1620 and 1623, the low prices led to a drop in the living standards of the potters. They responded by finding new markets outside the Ottoman imposed price system. Tiles were exported to Cairo where they were used to decorate the

1496:-red decoration that was to become a characteristic feature of Iznik tiles and pottery. The red on the lamp is thin, brownish and uneven. A few surviving dishes that use a similar thin red colouring are believed to date from the same period. 1008: 367:

During the first half of the 16th century underglaze painted blue-and-white ceramics were also produced in Istanbul. A surviving account book for 1526 that records wages paid to craftsmen employed by the Ottoman court, lists a tilemaker from

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was decorated with polychrome tiles inscribed with Greek lettering. Nevertheless, there was a decline in the volume of pottery produced and by the mid-17th century only a few kilns remained. The last dated pottery are dishes with crude

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of Iznik pottery is in the accounts for the Imperial kitchens of the Tokapi palace for 1489–1490 where the purchase of 97 vessels is recorded. The earliest datable objects are blue-and-white border tiles that decorate the mausoleum (

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tiles. The number of tilemakers employed by the imperial workshops dwindled so that by 1566 only three remained. With the construction of the Süleymaniye Mosque, Iznik became a major center for the manufacture of underglaze tiles.

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Although there are no surviving records detailing the output of the imperial workshops, it is likely that the potters manufacturing the blue-and-white underglaze painted tiles also made other items for the court. The art historian

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in Istanbul (completed in around 1563), and the mausoleum of Süleyman I (completed in 1567). The mausoleums of Süleyman I and that of his wife Hurrem Sultan are both located in the grounds of the Süleymaniye Mosque in Istanbul.

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During the first two decades of the 16th century there was a gradual shift in style with the introduction of a brighter blue, more use of a white background and a greater use of floral motifs. Dating from this period are four

3481: 294:, see below) the earlier names associated with the different styles are still often used. In the 19th century until the 1860s all Islamic pottery was normally known as 'Persian' ware. However, between 1865 and 1872 the 307:

in Syria and became known as 'Damascus' ware. Blue and white fritware pottery became known as 'Abraham of Kutahia ware' as the decoration was similar to that on a small ewer that once formed part of the collection of

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style was also introduced. This used a repertoire of stylised tulips, carnations, roses and hyacinths. It was promoted by Kara Memi (Kara Mehmed Çelebi) who by 1557/8 was the chief artist of Sultan Süleyman's court.

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The so-called 'Golden Horn ware' was a variation on the blue-and-white decoration that was popular from the late 1520s to 1550s. Golden Horn ware was so named because sherds in this style were excavated in the

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under the glaze on its base stating that the vessel was "in commemoration of Abraham, servant of God, of K'ot'ay . In this year 959 ". In 1905–1907, during the construction of a new post office in the

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in Paris acquired a collection of polychrome fritware pottery with a design that included a bright 'sealing-wax red'. As all the items in the collection had been obtained on the island of

324:, pottery fragments were unearthed that were decorated with spiral designs on a white background. As a result, pottery with similar spiral patterns became known as 'Golden Horn ware'. 1235:. Exactly how this was organised is not known, but Sinan as architect was almost certainly involved in coordinating the design of the tilework with the architecture of the buildings. 327:

It was not until the 1930s that art historians fully realised that the different styles of pottery were probably all produced in Iznik. In 1957 Arthur Lane, keeper of ceramics at the

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dynasties, the early Iznik fritware dishes were far from being direct copies of Chinese designs. In some pieces, such as the front of a large charger with a foliate rim in the

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was applied in a thick layer under the glaze. Even after the introduction of a range of different pigments, vessels were sometimes still produced with a restricted palette.

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Beginning in the middle of the 16th century, the potters in Iznik began producing coloured fritware tiles to decorate the imperial buildings designed by the head architect

1155: 1579: 1742: 1059:. It is the best documented surviving piece of Iznik pottery and enables scholars to fix the dates and provenance of other objects. The lamp was discovered on the 1670: 447:

confusingly known as 'Miletus ware'. The discovery of kiln-wasters confirmed that the pottery was manufactured locally. The name originated from the discovery of

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the Chinese inspired floral patterns. Many of the meticulously painted arabesque motifs of this early period are believed to be influenced by Ottoman metalwork.

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should be attributed to the imperial workshop. The lamp and ball have underglaze inscriptional bands in cobalt blue but the mosque itself is decorated only with

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in central Iran. Qamsar had long been an important source of cobalt and is mentioned by Abū'l-Qāsim Qamsarin in his treatise. From around 1520 turquoise (

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in Istanbul which was constructed in 1512–13. A fifth lamp that probably also came from the mausoleum is now in the British Museum. These pottery

402:. The most striking examples are five extremely large rectangular tiles, 1.25 m (4.1 ft) in length, that form part of the façade of the 1658: 1139: 1107: 3794:

Henderson, J.; Raby, J. (1989). "The technology of fifteenth century Turkish tiles: an interim statement on the origins of the Iznik industry".

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A dish now in the Musée National de la Renaissance in Écouen has the date written on the back as AH 15 which corresponds to AD 1606/7.

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Although both the use of cobalt blue on a white background and the shape of large dishes were clearly influenced by Chinese porcelain from the

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the century the potters in Iznik produced large quantities of underglazed tiles to decorate the imperial buildings designed by the architect

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lettering reserved on a dark cobalt blue background. Between the letters are flowers in purple and turquoise. Within the mosque above the

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patterns with Chinese elements. The change was almost certainly a result of active intervention and patronage by the recently established

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floral and abstract motifs in tight designs making use of a limited palette. Decoration progressed from pure symmetry to subtle rhythms.

4896: 1075:. Around the base of the lamp are a series of inscribed cartouches giving the name of the decorator (Musli), a dedication to the İznik 1396: 627:, the lack of spur marks on Iznik fritware suggests that saggars were used. Firing was done in an updraft kiln, to about 900 °C. 76:

that was produced from the last quarter of the 15th century until the end of the 17th century. Turkish stylization is a reflection of

4204: 3947: 881:(reed) leaf, dynamically arranged, is balanced by static rosette forms. In the second half of the sixteenth century the more natural 1634: 1186:

and completed in 1551. Under the portico on the north façade are three tiled lunette panels and two roundels. The panels have white

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There are only two surviving buildings with tiles that use the purple colour scheme. The earliest is the Yeni Kaplıca bathhouse in

163: 4869: 4146: 1327:'Damascus ware' used a sage-green - a green with a greyish tone. This colour was used sparingly on the tiles of the mausoleum of 969: 91:

decoration when, in the last quarter of the 15th century, craftsmen in the town began to manufacture high quality pottery with a

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4–7 percent. Tin oxide is often employed to render glaze opaque but in İznik glazes, it remains in solution and is transparent.

380:. The craftsmen are believed to have been responsible for all the tiles on the imperial buildings until the construction of the 4803: 733:

inscriptions but around the centre they have a very prominent broad band containing large rosettes and stylized lotus blossoms.

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had temporary captured Tabriz in 1514. The tile workshops were located in the Tekfur Sarayı neighbourhood of the city near the

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Pottery vessels that combine traditional Iznik designs with modern themes are now produced for the tourist trade in Kütahya.

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A key object from this period is a ceramic vessel in the form of a mosque lamp with an inscribed date that is now in the

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A spherical hanging ornament with similar decorative motifs to those on the Dome of the Rock mosque lamp is now in the

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In the early period only cobalt blue was used for decoration. The cobalt ore was probably obtained from the village of

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sultans started a huge building programme. In these buildings, especially those commissioned by Süleyman, his wife

158:. In Istanbul examples of Iznik tiling can be seen in mosques, tombs, libraries, and palace buildings, such as the 4762: 1730: 589:), green, grey and black. The distinctive bright bole red was introduced in around 1560. The red slip containing 794: 138: 4731: 4470: 3682:

Colomban, P.; Milande, V.; Le Bihan, L. (2004). "On-site Raman analysis of Iznik pottery glazes and pigments".

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Large quantities of tiles were required. In the 1550s and early 1560s the potters in Iznik made tiles for the

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with a fitting lid. Although Miletus ware bowls were stacked in the kiln one on top of the other separated by

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from 1540 to 1555. Vessels were decorated for the first time with sage green and pale purple, in addition to

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designs were very different from that used in the production of Miletus ware. Fritware had been made in the

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meandering pattern. The design is similar to the illuminated spiral scrolls used as a background to Sultan

782: 5017: 4907: 4819: 4751: 4065: 3505:. Études historiques (Université Provence), no 3. Éditions de l'Université de Provence. pp. 57–65. 1711:

which was remodelled by Ibrahim Agha in 1651–1652. Tiles were also exported to Greece where in 1678 the

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in the middle of the 19th century and is believed to have been associated with the refurbishment of the

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Denny, Walter B. (2006). "Dispersed Ottoman repeating-pattern İznik tiles". In Parzymies, Anna (ed.).

2943:"Hadım İbrahim Paşa Camii: Detail of mosque portico showing underglaze Iznik tile lunette and roundel" 566:

firing. The pottery was painted with pigments that had been mixed with glass frit and ground in a wet

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in Istanbul which was completed in 1557. The lamp is the earliest object of a known date with the

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with ten assistants. The tilemaker was probably one of the craftsmen brought to Istanbul after

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from the 13th century, but Iznik fritware, achieving a white surface, was a major innovation.

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is a large lunette panel with tiles painted in cobalt blue, turquoise and dark olive green.

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Denny, Walter B. (1976). "Ceramic revetments of the mosque of the Ramazan Oğlu in Adana".

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From the late 15th century, potters in Iznik began producing wares that were decorated in

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has suggested that an unusual gilded mosque lamp and a decorative ball that come from the

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and completed in 1557. The tile decoration inside the mosque is restricted to around the

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script on a dark blue ground. The decoration on these tiles also includes the bole red.

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Large dish (charger) with foliate rim. Design reserved on a dark cobalt ground, ca. 1480

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An important object in the study of Iznik pottery is a mosque lamp that is now in the

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Tite, M.S. (1989). "Iznik pottery: an investigation of the methods of production".

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Mason, R.B.; Tite, M.S. (1994). "The beginnings of Islamic stonepaste technology".

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IVème congrès international d'art turc : Aix-en-Provence, 10-15 septembre 1971

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Perpetual glory: medieval Islamic ceramics from the Harvey B. Plotnick Collection

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The Great Mosque in Adana was an existing building and was not designed by Sinan.

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which was completed in 1563. In contrast to the restrained use of tiles in the

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in the 1550s. Most of the tiles were decorated with coloured glazes using the

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The 'Abraham of Kutahia' ewer of 1510 is not the only vessel with a possible

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depicting flowering prunus under the portico to the left of the entrance of

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origin. A damaged water bottle decorated in the 'Golden Horn' style has two

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with lotuses c. 1510, similar to four lamps that hung in the mausoleum of

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Lidded bowl decorated with cypresses, tulips and carnations, c. 1560–1580

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complex, and certain buildings of the Topkapı Palace complex such as the

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Studies in Oriental Art and Culture in Honour of Professor Tadeusz Majda

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at Silivrikapı in Istanbul which was designed by the imperial architect

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Dish with foliate rim decorated with flowers and a cypress tree, with a

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The Süleymaniye Mosque lamp in the Victoria and Albert Museum has the

948: 465: 348: 291: 4922: 4657: 4259: 3863: 3713: 1835: 1097:

Dish with cloud scrolls that are similar to those on the lamp, and a

1064: 1045: 871: 824: 613: 506: 249: 3578: 3412: 1818: 1561:

Dish with a prunus tree reserved in white on a green ground, c. 1585

840: 757:

Fragmentary tile similar to those in mausoleum of Şehzade Mahmud in

4927: 4701: 4584: 4574: 4337: 4194: 3227: 2200: 1049: 920: 844: 597: 501:

body under a clear glaze. Both the manufacturing technique and the

498: 460: 304: 253: 216: 143: 115: 92: 69: 24: 2625: 2174:(First ed.). The Art Institute of Chicago. pp. 149–153. 1081:

saint Eşrefzâde Rumi, and the date of AH 956 in the month of

906: 659: 65: 4625: 4604: 4184: 1703: 1298: 1220: 1188: 855:

in Istanbul (the "Blue Mosque") alone contains 20,000 tiles. The

600:-tin glaze, whose composition has been found from analysis to be 474: 456: 373: 317: 312:

and is now in the British Museum. The ewer has an inscription in

73: 32: 3299: 1585:

Dish with animals in reserve on a green background, c. 1580–1585

1171:

Yeni Kaplıca bathhouse when it was restored by the grand vizier

570:. For some designs the outlines were pounced through a stencil. 4677: 4609: 4559: 4429: 4424: 4403: 4388: 4179: 3263: 2471:

Henderson, Julian, "İznik pottery, a technical examination" in

2417: 1499:

There are no surviving vessels with a date between that of the

1315: 1285: 723: 605: 578: 574: 521: 369: 343:'Abraham of Kutahia' ewer, probably made in Kütahya, dated 1510 299: 257: 151: 3971: 2719: 2441: 4667: 4630: 4569: 4383: 4297: 4154: 3901:

Iznik Pottery and Tiles in the Calouste Gulbenkian Collection

3874:"The production technology of Iznik pottery – a reassessment" 3846: 3599:

The Age of Sinan: Architectural Culture in the Ottoman Empire

3149: 3052: 3050: 2957: 2835: 1664:

Bottle with roses, carnations and other flowers, c. 1560–1580

1390:

leaves, tulips and prunus flowers, third quarter 16th century

1336: 1291: 1263: 1167: 1161:

Rimless shallow dish with flowers and a cypress, c. 1525–1550

859:

is more densely tiled and tiles were used extensively in the

758: 745:

Jar with reserved decoration on a dark cobalt ground, c. 1480

729: 664: 448: 399: 261: 220: 155: 147: 83:İznik was an established centre for the production of simple 3967:

Photographs of Iznik tiles in Istanbul taken by Dick Osseman

3359: 3178: 3176: 3062: 3035: 3013: 3011: 2874: 2872: 2813: 2811: 2809: 2736: 2734: 2707: 2659: 2598: 2586: 2574: 2478: 2429: 2212: 2188: 233:

in the early 14th century, Iznik pottery initially followed

4393: 4169: 4164: 2986: 2984: 2823: 2538: 2407: 2405: 2403: 2289: 2287: 2153: 2151: 2138: 2136: 2084: 2082: 1175:

in 1552–1553. The tiles probably date from the late 1540s.

1077: 517: 273: 3665:

Treasury of Turkish designs: 670 motifs from Iznik pottery

3347: 3311: 3287: 3275: 3239: 3047: 2679:"Iznik ware | Facts, History, & Examples | Britannica" 2045: 2043: 2041: 240:

After this initial period, Iznik vessels were inspired by

3335: 3193: 3191: 3173: 3086: 3008: 2969: 2923: 2911: 2899: 2869: 2806: 2782: 2746: 2731: 2453: 2224: 2123: 2121: 2094: 1279:

in Istanbul which was designed by the imperial architect

926:

dishes that were popular in Italy between 1500 and 1530.

889: 585:) was added to the palette. This was followed by purple ( 3323: 3251: 3161: 3110: 3098: 3074: 2981: 2514: 2502: 2490: 2400: 2388: 2376: 2347: 2299: 2284: 2272: 2248: 2148: 2133: 2079: 1359:

Iznik tiles in the Neo-classical Enderûn Library in the

815:

Patronage by the Ottoman court: Süleyman the Magnificent

2038: 1992: 1855:

A bowl excavated at Sirkenci in Istanbul is now in the

910:, or imperial monogram. Julian Raby has used the term ' 823:

Fruit sellers carrying ceramic jars in front of Sultan

3616:

Lane, Arthur (1957a). "The Ottoman pottery of Isnik".

3188: 3139: 3137: 2996: 2695: 2526: 2335: 2323: 2311: 2118: 1019: 181: 134:(Blue Mosque) in Istanbul that was completed in 1616. 3872:

Paynter, S.; Okyar, F.; Wolf, S.; Tite, M.S. (2004).

2026: 1955: 1488:

in London. The lamp is believed to have made for the

209:

Left: Ming dynasty porcelain dish with grape design,

3215: 2794: 2562: 2550: 2366: 2364: 2362: 2106: 3639:

Later Islamic pottery: Persia, Syria, Egypt, Turkey

3134: 3122: 2236: 2055: 1549:

Dish with plain rim, late 16th – early 17th century

3949:Timeline of the main developments in Iznik pottery 2012:"'Abraham of Kütahya' ewer. Inventory number: G.1" 1933:"Blue-and-White Islamic Pottery on Chinese Themes" 1305:The next major monument designed by Sinan was the 1199: 630: 3442:; Raby, Julian (1989). Petsopoulos, Yanni (ed.). 3023: 2359: 2067: 1830:The hanging mosque ornament is on display at the 1813:The collection of 532 items is now housed in the 1331:(1558) but no green was used on the tiles of the 362: 4979: 3460: 3305: 1036:The so-called 'Damascus ware' was popular under 451:during excavations by the German archaeologist 4913:Islamic world contributions to Medieval Europe 3463:Islamic Architecture in Cairo: An Introduction 2645:"Mosque lamp. Inventory number: 1878,1230.520" 702:in Istanbul, the decoration used only Ottoman 427: 3987: 3731:"Dispersed Ottoman unified-field tile panels" 1764:Dish with riderless horse, early 17th century 1446:Wall tile in the Rüstem Pasha Mosque, c. 1563 619:Abū'l-Qāsim described the use of earthenware 2855:"Mosque lamp. Inventory number: 1887,0516.1" 1604:Pitcher with flower decoration, c. 1560–1570 436:Fragmentary blue and white Miletus ware bowl 248:sultans. As the potters were unable to make 1616:Tankard with cypresses and flowers, c. 1560 851:, large quantities of tiles were used. The 683:denotes the Ottoman arabesque patterns and 320:district of Istanbul near the shore of the 106:. The designs combined traditional Ottoman 4897:Islamic Art: Mirror of the Invisible World 3994: 3980: 3952:, Oxford: Ashmolean Museum, archived from 3903:. Lisbon: Calouste Gulbenkian Foundation. 3438: 3353: 3341: 3317: 3293: 3281: 3269: 3245: 3233: 3209: 3182: 3092: 3017: 2975: 2963: 2893: 2841: 2817: 2788: 2752: 2740: 2725: 2665: 2619: 2604: 2592: 2580: 2544: 2520: 2508: 2496: 2484: 2472: 2459: 2447: 2435: 2423: 2411: 2394: 2382: 2353: 2305: 2293: 2266: 2230: 2206: 2169: 2142: 2088: 2049: 1998: 1876:in Athens. The museum inventory number is 1052:from the second half of the 16th century. 3889: 3862: 3695: 3593: 3557: 3167: 3116: 3080: 3068: 3041: 2990: 2713: 2278: 2254: 2218: 2194: 2157: 1975:"LACMA: Los Angeles County Museum of Art" 4950:Oriental carpets in Renaissance painting 3479: 3365: 3329: 3257: 3197: 3155: 2929: 2917: 2905: 2878: 2829: 2701: 2631: 2532: 2341: 2317: 2127: 2100: 2032: 1961: 1748:Dish with a pagoda like building and an 1688:Spherical hanging ornament, c. 1575–1585 1471: 1296:Quran. The white letters are written in 1237: 1214: 1023: 1002:Deep dish with foliate rim, c. 1530–1540 947:Cut down water bottle, probably made in 818: 634: 548: 484: 431: 338: 139:ceramic collection of the Topkapı Palace 38: 18: 4870:Heaven on Earth: Art from Islamic Lands 3538: 3522:Iznik: the Artistry of Ottoman Ceramics 3056: 3002: 1842:). The mosque lamp is displayed at the 1521:Dish with peacocks and flowers, c. 1575 4980: 2622:, p. 100, Figs. 105–109, 293–296. 2004: 1780:leaves and scale pattern, 17th century 1696: 890:'Golden Horn ware' (c. 1530 – c. 1550) 667:of Şehzade Mahmud, one of the sons of 3975: 3796:World Archaeology: Ceramic Technology 3775:Bulletin de Correspondance Hellénique 3636: 3615: 3519: 3500: 3394: 3221: 3143: 3128: 3104: 3029: 2800: 2568: 2556: 2370: 2329: 2242: 2112: 2073: 2061: 1930: 1795:Chinese influences on Islamic pottery 1242:Tiled panel under the portico of the 1223:panel decorated with bole red on the 256:, a low-fired body comprising mainly 3754:. Warsaw: Dialog. pp. 169–190. 3444:Iznik: The Pottery of Ottoman Turkey 3397:"Abū'l-Qāsim's treatise on ceramics" 3384:"Abū'l-Qāsim's treatise on ceramics" 2766:"Iznik Pottery: Evolution 1520-1550" 1402:Tile panel, second half 16th century 334: 4877:Hajj: Journey to the Heart of Islam 2896:, pp. 135, 138, Figs 239, 355. 1028:Mosque lamp, probably made for the 1020:'Damascus ware' (c. 1540 – c. 1555) 963:Deep dish with foliate rim, c. 1530 727:with bands of geometric motifs and 229:Following the establishment of the 182:Overview: role of Chinese porcelain 13: 3932:10.1111/j.1475-4754.1989.tb01008.x 3837:10.1111/j.1475-4754.1994.tb01066.x 3655: 2170:Pancaroğlu, Oya (March 31, 2007). 1339:(c. 1560) nor on the mausoleum of 1133:leaves and a peacock, c. 1540–1555 596:The wares were glazed with a lead- 72:where it was made, is a decorated 14: 5029: 4778:Museum for Islamic Art, Jerusalem 3940: 3541:A History of Ottoman Architecture 3461:Behrens-Abouseif, Doris (1992) . 244:, which was highly prized by the 4223: 3891:10.1111/j.1475-4754.2004.00166.x 3486:. London: British Museum Press. 1904: 1815:Musée National de la Renaissance 1769: 1757: 1741: 1729: 1681: 1669: 1657: 1645: 1633: 1628:Tankard with ships, c. 1575–1585 1621: 1609: 1597: 1590: 1578: 1566: 1554: 1542: 1526: 1514: 1451: 1439: 1423: 1407: 1395: 1379: 1367: 1352: 1211:Ottoman architectural decoration 1154: 1138: 1122: 1117:leaves and flowers, c. 1545–1550 1106: 1090: 1007: 995: 980: 968: 956: 940: 793: 781: 766: 750: 738: 404:Circumcision Room (Sünnet Odası) 199: 190: 120:Chinese blue-and-white porcelain 4001: 3899:Queiroz Ribeiro, Maria (2009). 3543:. London: Thames & Hudson. 3524:. London: Thames & Hudson. 2935: 2847: 2758: 2671: 2637: 2465: 2163: 1892: 1883: 1866: 1849: 1824: 1652:Ewer, last quarter 16th century 1347:, which was completed in 1567. 1200:Polychrome ceramics (1560–1600) 1145:Dish covered with rosettes and 800:Rimless deep bowl, c. 1525–1530 631:Blue-and-white ware (1480–1520) 553:Large dish (charger), 1500–1510 99:under a colourless transparent 1967: 1924: 1807: 1736:Dish with a ship, c. 1625–1650 1573:Dish with plain rim, 1580–1600 1254:in Istanbul, the mausoleum of 558:binder was also added such as 363:Imperial workshops in Istanbul 166:, the tomb of Selim II in the 1: 3808:10.1080/00438243.1989.9980094 3684:Journal of Raman Spectroscopy 2770:islamicceramics.ashmolean.org 2269:, p. 102, Figs. 305–306. 1917: 714:from the mausoleum of Sultan 378:Palace of the Porphyrogenitus 284: 48: 4935:Mathematics and architecture 3851:Bulletin d'Études Orientales 3769:François, Véronique (1997). 3446:. London: Alexandria Press. 3212:, pp. 224–225 fig. 377. 1713:Monastery of the Great Lavra 1129:Dish covered with rosettes, 394:and within the mausoleum of 252:, the vessels produced were 7: 3641:. London: Faber and Faber. 1788: 1414:Tiled panel with a central 480: 428:Miletus ware (15th century) 164:Sokollu Mehmet Pasha Mosque 10: 5034: 3601:. London: Reaktion Books. 3539:Goodwin, Godfrey (2003) . 3375: 2634:, pp. 39–41, Fig. 23. 1900:Inventory number: 131–1885 1857:Victoria and Albert Museum 1846:(Çinili Köşk) in Istanbul. 1486:Victoria and Albert Museum 1467: 1458:Tile in the Mihrab of the 1208: 1180:Hadim Ibrahim Pasha Mosque 1178:The other building is the 975:Water bottle, c. 1530–1535 877:in which a long, serrated 722:are of a similar shape to 649: 439: 329:Victoria and Albert Museum 64:, named after the town of 4918:Influences on Western art 4886: 4854: 4730: 4692: 4648: 4618: 4545: 4512: 4503: 4438: 4417: 4376: 4328: 4283: 4239: 4232: 4221: 4145: 4018: 4009: 3845:Maury, Charlotte (2012). 3729:Denny, Walter B. (2005). 3520:Denny, Walter B. (2004). 1931:Denny, Walter B. (1974). 1640:Mosque lamp, c. 1580–1585 1537:leaf and flowers, c. 1575 1507: 1258:(completed in 1558), the 671:, who died in 1506–1507. 16:Type of decorated ceramic 3480:Carswell, John (2006) . 2857:. British Museum, London 2647:. British Museum, London 2209:, p. 102, Fig. 129. 2014:. British Museum, London 1800: 1724:inscriptions from 1678. 1430:Detail of a tile in the 1329:Hurrem Sultan (Roxelana) 1256:Hurrem Sultan (Roxelana) 1204: 1073:Suleiman the Magnificent 1038:Süleyman the Magnificent 1032:in Jerusalem, dated 1549 868:Süleyman the Magnificent 652:Blue and white porcelain 459:on the western coast of 310:Frederick Du Cane Godman 219:dish with grape design, 29:Art Institute of Chicago 3236:, p. 223, fig 511. 1752:inscription, dated 1666 847:) and his Grand Vizier 805: 542:was added to the frit. 23:Two tiles, circa 1560, 4908:Indo-Saracenic Revival 3637:Lane, Arthur (1957b). 3354:Atasoy & Raby 1989 3342:Atasoy & Raby 1989 3318:Atasoy & Raby 1989 3294:Atasoy & Raby 1989 3282:Atasoy & Raby 1989 3270:Atasoy & Raby 1989 3246:Atasoy & Raby 1989 3234:Atasoy & Raby 1989 3210:Atasoy & Raby 1989 3183:Atasoy & Raby 1989 3093:Atasoy & Raby 1989 3018:Atasoy & Raby 1989 2976:Atasoy & Raby 1989 2964:Atasoy & Raby 1989 2894:Atasoy & Raby 1989 2842:Atasoy & Raby 1989 2818:Atasoy & Raby 1989 2789:Atasoy & Raby 1989 2753:Atasoy & Raby 1989 2741:Atasoy & Raby 1989 2726:Atasoy & Raby 1989 2666:Atasoy & Raby 1989 2620:Atasoy & Raby 1989 2605:Atasoy & Raby 1989 2593:Atasoy & Raby 1989 2581:Atasoy & Raby 1989 2545:Atasoy & Raby 1989 2521:Atasoy & Raby 1989 2509:Atasoy & Raby 1989 2497:Atasoy & Raby 1989 2485:Atasoy & Raby 1989 2473:Atasoy & Raby 1989 2460:Atasoy & Raby 1989 2448:Atasoy & Raby 1989 2436:Atasoy & Raby 1989 2424:Atasoy & Raby 1989 2412:Atasoy & Raby 1989 2395:Atasoy & Raby 1989 2383:Atasoy & Raby 1989 2354:Atasoy & Raby 1989 2306:Atasoy & Raby 1989 2294:Atasoy & Raby 1989 2267:Atasoy & Raby 1989 2231:Atasoy & Raby 1989 2207:Atasoy & Raby 1989 2143:Atasoy & Raby 1989 2089:Atasoy & Raby 1989 2050:Atasoy & Raby 1989 1999:Atasoy & Raby 1989 1937:Boston Museum Bulletin 1481: 1266:(in around 1560), the 1247: 1228: 1033: 831:After the conquest of 828: 647: 554: 512:Fritware (also called 490: 437: 344: 54: 36: 4863:Empire of the Sultans 3787:10.3406/bch.1997.1637 3735:Benaki Museum Journal 3306:Behrens-Abouseif 1992 2426:, pp. 57, 59–60. 1475: 1460:Great Mosque of Adana 1241: 1218: 1027: 822: 650:Further information: 638: 552: 488: 435: 342: 42: 22: 4826:Arab World Institute 4636:Ottoman illumination 3737:. 4, 2004: 149–157. 3663:Akar, Azade (1988). 3395:Allan, J.W. (1973). 3272:, pp. 274, 278. 3158:, p. 75 fig 50. 2728:, pp. 108, 113. 2450:, pp. 221, 228. 1246:in Istanbul, c. 1561 1149:leaves, c. 1545–1550 919:similar in shape to 914:spiral ware' as the 788:Candlestick, c. 1525 223:, Turkey, 1550–1570. 3706:2004JRSp...35..527C 3667:. New York: Dover. 3368:, pp. 118–120. 3107:, pp. 86, 209. 3071:, pp. 219–220. 3059:, pp. 237–238. 3044:, pp. 321–322. 2966:, pp. 218–219. 2844:, pp. 72, 129. 2832:, pp. 112–113. 2716:, pp. 221–222. 2221:, pp. 148–152. 2197:, pp. 143–145. 1697:Decline (1600–1700) 1432:Rüstem Pasha Mosque 1345:Süleymaniye complex 1322:Rüstem Pasha Mosque 1307:Rüstem Pasha Mosque 1268:Rüstem Pasha Mosque 1244:Rüstem Pasha Mosque 1227:, Istanbul, c. 1557 930:collections of the 857:Rüstem Pasha Mosque 853:Sultan Ahmed Mosque 811:through and shine. 396:Çoban Mustafa Pasha 213:, China, 1403–1424. 160:Rüstem Pasha Mosque 132:Sultan Ahmed Mosque 118:who greatly valued 5018:Turkish inventions 4903:Aniconism in Islam 4841:Toronto (Aga Khan) 4798:Khalili Collection 4663:Geometric patterns 4071:Bahmani and Deccan 2683:www.britannica.com 2668:, pp. 41, 94. 2607:, pp. 90, 98. 2595:, pp. 77, 79. 2583:, pp. 79, 81. 2487:, pp. 60, 67. 2438:, pp. 58, 67. 1832:Walters Art Museum 1490:Süleymaniye Mosque 1482: 1478:Süleymaniye Mosque 1374:Two tiles, c. 1560 1311:Süleymaniye Mosque 1277:Süleymaniye Mosque 1252:Süleymaniye Mosque 1248: 1229: 1225:Süleymaniye Mosque 1034: 1014:Ewer, c. 1530–1540 990:dish, c. 1530–1540 829: 700:Çinili Koşk Museum 648: 555: 491: 438: 417:Yavuz Selim Mosque 382:Süleymaniye Mosque 345: 95:body painted with 55: 37: 4993:Culture of Turkey 4975: 4974: 4644: 4643: 4499: 4498: 4471:Hardstone carving 4368:Chinese influence 4219: 4218: 4205:Stucco decoration 3910:978-972-8848-58-3 3761:978-83-89899-39-2 3674:978-0-486-25594-1 3608:978-1-86189-253-9 3550:978-0-500-27429-3 3531:978-0-500-51192-3 3512:978-2-85399-015-8 3493:978-0-7141-2441-4 3472:978-90-04-09626-4 3465:. Leiden: Brill. 3453:978-1-85669-054-6 2932:, pp. 70–71. 2920:, pp. 71–73. 2908:, pp. 67–68. 2881:, pp. 63–67. 2547:, pp. 76–79. 2332:, pp. 40–41. 2103:, pp. 46–47. 1861:Inv. No. 790–1905 1275:with red was the 612:8–14 percent and 577:near the town of 534:which acted as a 335:İznik and Kütahya 242:Chinese porcelain 172:Circumcision room 78:Chinese porcelain 5025: 4814:Majorelle Garden 4510: 4509: 4343:Hispano-Moresque 4237: 4236: 4227: 4036:Anatolian Seljuk 4016: 4015: 3996: 3989: 3982: 3973: 3972: 3963: 3962: 3961: 3935: 3914: 3895: 3893: 3868: 3866: 3864:10.4000/beo.1051 3840: 3819: 3790: 3765: 3746: 3725: 3714:10.1002/jrs.1163 3699: 3697:cond-mat/0612375 3678: 3650: 3633: 3612: 3595:Necipoğlu, Gülru 3590: 3559:Necipoğlu, Gülru 3554: 3535: 3516: 3497: 3476: 3457: 3435: 3433: 3432: 3423:. Archived from 3391: 3369: 3363: 3357: 3351: 3345: 3339: 3333: 3327: 3321: 3315: 3309: 3303: 3297: 3291: 3285: 3279: 3273: 3267: 3261: 3255: 3249: 3243: 3237: 3231: 3225: 3219: 3213: 3207: 3201: 3195: 3186: 3180: 3171: 3165: 3159: 3153: 3147: 3141: 3132: 3126: 3120: 3114: 3108: 3102: 3096: 3090: 3084: 3078: 3072: 3066: 3060: 3054: 3045: 3039: 3033: 3027: 3021: 3015: 3006: 3000: 2994: 2988: 2979: 2973: 2967: 2961: 2955: 2954: 2952: 2950: 2939: 2933: 2927: 2921: 2915: 2909: 2903: 2897: 2891: 2882: 2876: 2867: 2866: 2864: 2862: 2851: 2845: 2839: 2833: 2827: 2821: 2815: 2804: 2798: 2792: 2786: 2780: 2779: 2777: 2776: 2762: 2756: 2750: 2744: 2738: 2729: 2723: 2717: 2711: 2705: 2699: 2693: 2692: 2690: 2689: 2675: 2669: 2663: 2657: 2656: 2654: 2652: 2641: 2635: 2629: 2623: 2617: 2608: 2602: 2596: 2590: 2584: 2578: 2572: 2566: 2560: 2554: 2548: 2542: 2536: 2530: 2524: 2518: 2512: 2506: 2500: 2494: 2488: 2482: 2476: 2469: 2463: 2457: 2451: 2445: 2439: 2433: 2427: 2421: 2415: 2409: 2398: 2392: 2386: 2380: 2374: 2368: 2357: 2351: 2345: 2339: 2333: 2327: 2321: 2315: 2309: 2303: 2297: 2291: 2282: 2276: 2270: 2264: 2258: 2252: 2246: 2240: 2234: 2228: 2222: 2216: 2210: 2204: 2198: 2192: 2186: 2185: 2167: 2161: 2155: 2146: 2140: 2131: 2125: 2116: 2110: 2104: 2098: 2092: 2086: 2077: 2071: 2065: 2059: 2053: 2047: 2036: 2030: 2024: 2023: 2021: 2019: 2008: 2002: 1996: 1990: 1989: 1987: 1986: 1977:. Archived from 1971: 1965: 1959: 1953: 1952: 1928: 1911: 1908: 1902: 1896: 1890: 1887: 1881: 1870: 1864: 1853: 1847: 1840:Inv. no. 48.1022 1828: 1822: 1811: 1773: 1761: 1745: 1733: 1685: 1673: 1661: 1649: 1637: 1625: 1613: 1601: 1582: 1570: 1558: 1546: 1530: 1518: 1501:Dome of the Rock 1455: 1443: 1427: 1411: 1399: 1383: 1371: 1356: 1158: 1142: 1126: 1110: 1094: 1069:Dome of the Rock 1030:Dome of the Rock 1011: 999: 984: 972: 960: 944: 797: 785: 770: 754: 742: 355:inscriptions in 203: 194: 87:pottery with an 53: 50: 5033: 5032: 5028: 5027: 5026: 5024: 5023: 5022: 5003:Islamic pottery 4978: 4977: 4976: 4971: 4940:Moorish Revival 4888: 4882: 4850: 4767:Calligraphy Art 4733: 4726: 4688: 4640: 4614: 4541: 4505: 4495: 4461:Enamelled glass 4434: 4413: 4372: 4324: 4279: 4240:Regional styles 4228: 4215: 4141: 4112:Sudano-Sahelian 4019:Regional styles 4005: 4000: 3959: 3957: 3946: 3943: 3938: 3917: 3911: 3898: 3871: 3857:(61): 507–543. 3844: 3822: 3793: 3768: 3762: 3749: 3728: 3681: 3675: 3662: 3658: 3656:Further reading 3653: 3609: 3579:10.2307/1523126 3551: 3532: 3513: 3494: 3473: 3454: 3430: 3428: 3413:10.2307/4300488 3382: 3378: 3373: 3372: 3364: 3360: 3352: 3348: 3340: 3336: 3328: 3324: 3316: 3312: 3304: 3300: 3292: 3288: 3280: 3276: 3268: 3264: 3256: 3252: 3244: 3240: 3232: 3228: 3220: 3216: 3208: 3204: 3196: 3189: 3181: 3174: 3166: 3162: 3154: 3150: 3142: 3135: 3127: 3123: 3115: 3111: 3103: 3099: 3091: 3087: 3079: 3075: 3067: 3063: 3055: 3048: 3040: 3036: 3028: 3024: 3016: 3009: 3001: 2997: 2989: 2982: 2974: 2970: 2962: 2958: 2948: 2946: 2941: 2940: 2936: 2928: 2924: 2916: 2912: 2904: 2900: 2892: 2885: 2877: 2870: 2860: 2858: 2853: 2852: 2848: 2840: 2836: 2828: 2824: 2816: 2807: 2799: 2795: 2787: 2783: 2774: 2772: 2764: 2763: 2759: 2751: 2747: 2739: 2732: 2724: 2720: 2712: 2708: 2700: 2696: 2687: 2685: 2677: 2676: 2672: 2664: 2660: 2650: 2648: 2643: 2642: 2638: 2630: 2626: 2618: 2611: 2603: 2599: 2591: 2587: 2579: 2575: 2567: 2563: 2555: 2551: 2543: 2539: 2531: 2527: 2519: 2515: 2507: 2503: 2495: 2491: 2483: 2479: 2470: 2466: 2458: 2454: 2446: 2442: 2434: 2430: 2422: 2418: 2410: 2401: 2393: 2389: 2381: 2377: 2369: 2360: 2352: 2348: 2340: 2336: 2328: 2324: 2316: 2312: 2304: 2300: 2292: 2285: 2277: 2273: 2265: 2261: 2253: 2249: 2241: 2237: 2229: 2225: 2217: 2213: 2205: 2201: 2193: 2189: 2182: 2168: 2164: 2156: 2149: 2141: 2134: 2126: 2119: 2111: 2107: 2099: 2095: 2087: 2080: 2072: 2068: 2060: 2056: 2048: 2039: 2031: 2027: 2017: 2015: 2010: 2009: 2005: 1997: 1993: 1984: 1982: 1973: 1972: 1968: 1960: 1956: 1929: 1925: 1920: 1915: 1914: 1909: 1905: 1897: 1893: 1888: 1884: 1871: 1867: 1854: 1850: 1829: 1825: 1812: 1808: 1803: 1791: 1781: 1774: 1765: 1762: 1753: 1746: 1737: 1734: 1709:Aksunkur Mosque 1699: 1693: 1689: 1686: 1677: 1674: 1665: 1662: 1653: 1650: 1641: 1638: 1629: 1626: 1617: 1614: 1605: 1602: 1593: 1586: 1583: 1574: 1571: 1562: 1559: 1550: 1547: 1538: 1531: 1522: 1519: 1510: 1470: 1463: 1456: 1447: 1444: 1435: 1428: 1419: 1412: 1403: 1400: 1391: 1384: 1375: 1372: 1363: 1357: 1213: 1207: 1202: 1162: 1159: 1150: 1143: 1134: 1127: 1118: 1111: 1102: 1101:border, c. 1550 1095: 1022: 1015: 1012: 1003: 1000: 991: 985: 976: 973: 964: 961: 952: 945: 892: 817: 808: 801: 798: 789: 786: 777: 771: 762: 755: 746: 743: 654: 633: 608:45–55 percent, 604:25-30 percent, 587:manganese oxide 483: 453:Friedrich Sarre 444: 430: 413:Gülru Necipoğlu 365: 357:Armenian script 337: 314:Armenian script 287: 227: 226: 225: 224: 214: 206: 205: 204: 196: 195: 184: 51: 17: 12: 11: 5: 5031: 5021: 5020: 5015: 5010: 5005: 5000: 4995: 4990: 4973: 4972: 4970: 4969: 4967:Topkapı Scroll 4964: 4957: 4952: 4947: 4942: 4937: 4932: 4931: 4930: 4925: 4915: 4910: 4905: 4900: 4892: 4890: 4884: 4883: 4881: 4880: 4873: 4866: 4858: 4856: 4852: 4851: 4849: 4848: 4843: 4838: 4833: 4822: 4817: 4806: 4801: 4790:British Museum 4786: 4781: 4774:Islamic Museum 4770: 4759: 4754: 4749: 4744: 4738: 4736: 4728: 4727: 4725: 4724: 4719: 4714: 4709: 4704: 4698: 4696: 4690: 4689: 4687: 4686: 4680: 4675: 4665: 4660: 4654: 4652: 4646: 4645: 4642: 4641: 4639: 4638: 4633: 4628: 4622: 4620: 4616: 4615: 4613: 4612: 4607: 4602: 4597: 4592: 4587: 4582: 4577: 4572: 4567: 4562: 4557: 4551: 4549: 4543: 4542: 4540: 4539: 4534: 4529: 4524: 4518: 4516: 4507: 4501: 4500: 4497: 4496: 4494: 4493: 4492: 4491: 4485:Stained glass 4483: 4478: 4473: 4468: 4463: 4458: 4456:Damascus steel 4453: 4448: 4442: 4440: 4436: 4435: 4433: 4432: 4427: 4421: 4419: 4415: 4414: 4412: 4411: 4406: 4401: 4396: 4391: 4386: 4380: 4378: 4374: 4373: 4371: 4370: 4365: 4360: 4355: 4350: 4345: 4340: 4334: 4332: 4326: 4325: 4323: 4322: 4317: 4312: 4307: 4306: 4305: 4295: 4289: 4287: 4281: 4280: 4278: 4277: 4267: 4249: 4243: 4241: 4234: 4230: 4229: 4222: 4220: 4217: 4216: 4214: 4213: 4207: 4202: 4197: 4192: 4187: 4182: 4177: 4172: 4167: 4162: 4157: 4151: 4149: 4143: 4142: 4140: 4139: 4134: 4129: 4124: 4119: 4114: 4109: 4104: 4099: 4094: 4089: 4080: 4079: 4078: 4073: 4068: 4058: 4053: 4048: 4043: 4038: 4033: 4028: 4022: 4020: 4013: 4007: 4006: 3999: 3998: 3991: 3984: 3976: 3970: 3969: 3964: 3942: 3941:External links 3939: 3937: 3936: 3926:(2): 115–132. 3915: 3909: 3896: 3884:(3): 421–437. 3869: 3842: 3820: 3802:(1): 115–132. 3791: 3781:(1): 411–442. 3766: 3760: 3747: 3726: 3690:(7): 527–535. 3679: 3673: 3659: 3657: 3654: 3652: 3651: 3634: 3618:Ars Orientalis 3613: 3607: 3591: 3555: 3549: 3536: 3530: 3517: 3511: 3498: 3492: 3477: 3471: 3458: 3452: 3440:Atasoy, Nurhan 3436: 3392: 3379: 3377: 3374: 3371: 3370: 3358: 3356:, p. 284. 3346: 3334: 3332:, p. 108. 3322: 3320:, p. 279. 3310: 3308:, p. 116. 3298: 3296:, p. 278. 3286: 3284:, p. 285. 3274: 3262: 3260:, p. 106. 3250: 3248:, p. 231. 3238: 3226: 3214: 3202: 3187: 3185:, p. 230. 3172: 3170:, p. 221. 3168:Necipoğlu 2005 3160: 3148: 3133: 3121: 3119:, p. 217. 3117:Necipoğlu 2005 3109: 3097: 3095:, p. 221. 3085: 3083:, p. 219. 3081:Necipoğlu 2005 3073: 3069:Necipoğlu 2005 3061: 3046: 3042:Necipoğlu 2005 3034: 3022: 3020:, p. 228. 3007: 3005:, p. 237. 2995: 2993:, p. 208. 2991:Necipoğlu 2005 2980: 2978:, p. 219. 2968: 2956: 2934: 2922: 2910: 2898: 2883: 2868: 2846: 2834: 2822: 2820:, p. 129. 2805: 2803:, p. 268. 2793: 2791:, p. 104. 2781: 2757: 2755:, p. 110. 2745: 2743:, p. 108. 2730: 2718: 2714:Necipoğlu 2005 2706: 2694: 2670: 2658: 2636: 2624: 2609: 2597: 2585: 2573: 2571:, p. 256. 2561: 2559:, p. 262. 2549: 2537: 2525: 2513: 2501: 2489: 2477: 2464: 2462:, p. 237. 2452: 2440: 2428: 2416: 2399: 2387: 2375: 2358: 2346: 2334: 2322: 2310: 2298: 2283: 2281:, p. 156. 2279:Necipoğlu 1990 2271: 2259: 2257:, p. 145. 2255:Necipoğlu 1990 2247: 2235: 2233:, p. 102. 2223: 2219:Necipoğlu 1990 2211: 2199: 2195:Necipoğlu 1990 2187: 2181:978-0300119435 2180: 2162: 2160:, p. 139. 2158:Necipoğlu 1990 2147: 2132: 2117: 2115:, p. 271. 2105: 2093: 2078: 2066: 2064:, p. 247. 2054: 2037: 2025: 2003: 1991: 1966: 1954: 1943:(368): 76–99. 1922: 1921: 1919: 1916: 1913: 1912: 1903: 1891: 1882: 1865: 1848: 1823: 1805: 1804: 1802: 1799: 1798: 1797: 1790: 1787: 1783: 1782: 1775: 1768: 1766: 1763: 1756: 1754: 1747: 1740: 1738: 1735: 1728: 1698: 1695: 1691: 1690: 1687: 1680: 1678: 1675: 1668: 1666: 1663: 1656: 1654: 1651: 1644: 1642: 1639: 1632: 1630: 1627: 1620: 1618: 1615: 1608: 1606: 1603: 1596: 1592: 1589: 1588: 1587: 1584: 1577: 1575: 1572: 1565: 1563: 1560: 1553: 1551: 1548: 1541: 1539: 1532: 1525: 1523: 1520: 1513: 1509: 1506: 1476:Lamp from the 1469: 1466: 1465: 1464: 1457: 1450: 1448: 1445: 1438: 1436: 1429: 1422: 1420: 1413: 1406: 1404: 1401: 1394: 1392: 1385: 1378: 1376: 1373: 1366: 1364: 1361:Topkapı Palace 1358: 1351: 1206: 1203: 1201: 1198: 1164: 1163: 1160: 1153: 1151: 1144: 1137: 1135: 1128: 1121: 1119: 1112: 1105: 1103: 1096: 1089: 1057:British Museum 1021: 1018: 1017: 1016: 1013: 1006: 1004: 1001: 994: 992: 986: 979: 977: 974: 967: 965: 962: 955: 953: 946: 939: 891: 888: 861:Topkapı Palace 833:Constantinople 816: 813: 807: 804: 803: 802: 799: 792: 790: 787: 780: 778: 772: 765: 763: 756: 749: 747: 744: 737: 632: 629: 560:tragacanth gum 482: 479: 440:Main article: 429: 426: 392:Topkapı Palace 364: 361: 336: 333: 296:Musée de Cluny 286: 283: 231:Ottoman Empire 208: 207: 198: 197: 189: 188: 187: 186: 185: 183: 180: 45:dollar pattern 15: 9: 6: 4: 3: 2: 5030: 5019: 5016: 5014: 5011: 5009: 5006: 5004: 5001: 4999: 4996: 4994: 4991: 4989: 4986: 4985: 4983: 4968: 4965: 4963: 4962: 4958: 4956: 4953: 4951: 4948: 4946: 4943: 4941: 4938: 4936: 4933: 4929: 4926: 4924: 4921: 4920: 4919: 4916: 4914: 4911: 4909: 4906: 4904: 4901: 4899: 4898: 4894: 4893: 4891: 4885: 4879: 4878: 4874: 4872: 4871: 4867: 4865: 4864: 4860: 4859: 4857: 4853: 4847: 4844: 4842: 4839: 4837: 4834: 4831: 4827: 4823: 4821: 4818: 4815: 4811: 4807: 4805: 4802: 4799: 4795: 4791: 4787: 4785: 4782: 4779: 4775: 4771: 4768: 4764: 4760: 4758: 4755: 4753: 4750: 4748: 4745: 4743: 4740: 4739: 4737: 4735: 4729: 4723: 4720: 4718: 4715: 4713: 4710: 4708: 4705: 4703: 4700: 4699: 4697: 4695: 4691: 4684: 4681: 4679: 4676: 4673: 4669: 4666: 4664: 4661: 4659: 4656: 4655: 4653: 4651: 4647: 4637: 4634: 4632: 4629: 4627: 4624: 4623: 4621: 4617: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4588: 4586: 4583: 4581: 4578: 4576: 4573: 4571: 4568: 4566: 4563: 4561: 4558: 4556: 4553: 4552: 4550: 4548: 4544: 4538: 4535: 4533: 4530: 4528: 4525: 4523: 4520: 4519: 4517: 4515: 4511: 4508: 4502: 4490: 4487: 4486: 4484: 4482: 4479: 4477: 4476:Ivory carving 4474: 4472: 4469: 4467: 4464: 4462: 4459: 4457: 4454: 4452: 4449: 4447: 4444: 4443: 4441: 4437: 4431: 4428: 4426: 4423: 4422: 4420: 4416: 4410: 4407: 4405: 4402: 4400: 4397: 4395: 4392: 4390: 4387: 4385: 4382: 4381: 4379: 4375: 4369: 4366: 4364: 4361: 4359: 4356: 4354: 4351: 4349: 4346: 4344: 4341: 4339: 4336: 4335: 4333: 4331: 4327: 4321: 4318: 4316: 4313: 4311: 4308: 4304: 4301: 4300: 4299: 4296: 4294: 4291: 4290: 4288: 4286: 4282: 4275: 4271: 4268: 4265: 4261: 4257: 4253: 4250: 4248: 4245: 4244: 4242: 4238: 4235: 4231: 4226: 4211: 4208: 4206: 4203: 4201: 4198: 4196: 4193: 4191: 4188: 4186: 4183: 4181: 4178: 4176: 4173: 4171: 4168: 4166: 4163: 4161: 4158: 4156: 4153: 4152: 4150: 4148: 4144: 4138: 4135: 4133: 4130: 4128: 4125: 4123: 4120: 4118: 4115: 4113: 4110: 4108: 4105: 4103: 4100: 4098: 4095: 4093: 4090: 4088: 4084: 4081: 4077: 4074: 4072: 4069: 4067: 4064: 4063: 4062: 4059: 4057: 4054: 4052: 4049: 4047: 4044: 4042: 4039: 4037: 4034: 4032: 4029: 4027: 4024: 4023: 4021: 4017: 4014: 4012: 4008: 4004: 3997: 3992: 3990: 3985: 3983: 3978: 3977: 3974: 3968: 3965: 3956:on 2012-03-23 3955: 3951: 3950: 3945: 3944: 3933: 3929: 3925: 3921: 3916: 3912: 3906: 3902: 3897: 3892: 3887: 3883: 3879: 3875: 3870: 3865: 3860: 3856: 3853:(in French). 3852: 3848: 3843: 3838: 3834: 3830: 3826: 3821: 3817: 3813: 3809: 3805: 3801: 3797: 3792: 3788: 3784: 3780: 3777:(in French). 3776: 3772: 3767: 3763: 3757: 3753: 3748: 3744: 3740: 3736: 3732: 3727: 3723: 3719: 3715: 3711: 3707: 3703: 3698: 3693: 3689: 3685: 3680: 3676: 3670: 3666: 3661: 3660: 3648: 3644: 3640: 3635: 3631: 3627: 3623: 3619: 3614: 3610: 3604: 3600: 3596: 3592: 3588: 3584: 3580: 3576: 3572: 3568: 3564: 3560: 3556: 3552: 3546: 3542: 3537: 3533: 3527: 3523: 3518: 3514: 3508: 3504: 3499: 3495: 3489: 3485: 3484: 3483:Iznik Pottery 3478: 3474: 3468: 3464: 3459: 3455: 3449: 3445: 3441: 3437: 3427:on 2012-03-23 3426: 3422: 3418: 3414: 3410: 3406: 3402: 3398: 3393: 3389: 3385: 3381: 3380: 3367: 3366:Carswell 2006 3362: 3355: 3350: 3344:, p. 21. 3343: 3338: 3331: 3330:Carswell 2006 3326: 3319: 3314: 3307: 3302: 3295: 3290: 3283: 3278: 3271: 3266: 3259: 3258:Carswell 2006 3254: 3247: 3242: 3235: 3230: 3224:, p. 79. 3223: 3218: 3211: 3206: 3200:, p. 76. 3199: 3198:Carswell 2006 3194: 3192: 3184: 3179: 3177: 3169: 3164: 3157: 3156:Carswell 2006 3152: 3146:, p. 91. 3145: 3140: 3138: 3131:, p. 86. 3130: 3125: 3118: 3113: 3106: 3101: 3094: 3089: 3082: 3077: 3070: 3065: 3058: 3053: 3051: 3043: 3038: 3031: 3026: 3019: 3014: 3012: 3004: 2999: 2992: 2987: 2985: 2977: 2972: 2965: 2960: 2944: 2938: 2931: 2930:Carswell 2006 2926: 2919: 2918:Carswell 2006 2914: 2907: 2906:Carswell 2006 2902: 2895: 2890: 2888: 2880: 2879:Carswell 2006 2875: 2873: 2856: 2850: 2843: 2838: 2831: 2830:Carswell 2006 2826: 2819: 2814: 2812: 2810: 2802: 2797: 2790: 2785: 2771: 2767: 2761: 2754: 2749: 2742: 2737: 2735: 2727: 2722: 2715: 2710: 2704:, p. 55. 2703: 2702:Carswell 2006 2698: 2684: 2680: 2674: 2667: 2662: 2646: 2640: 2633: 2632:Carswell 2006 2628: 2621: 2616: 2614: 2606: 2601: 2594: 2589: 2582: 2577: 2570: 2565: 2558: 2553: 2546: 2541: 2535:, p. 38. 2534: 2533:Carswell 2006 2529: 2523:, p. 90. 2522: 2517: 2511:, p. 30. 2510: 2505: 2499:, p. 62. 2498: 2493: 2486: 2481: 2475:, p. 67. 2474: 2468: 2461: 2456: 2449: 2444: 2437: 2432: 2425: 2420: 2414:, p. 58. 2413: 2408: 2406: 2404: 2397:, p. 57. 2396: 2391: 2385:, p. 51. 2384: 2379: 2372: 2367: 2365: 2363: 2356:, p. 50. 2355: 2350: 2344:, p. 30. 2343: 2342:Carswell 2006 2338: 2331: 2326: 2320:, p. 29. 2319: 2318:Carswell 2006 2314: 2308:, p. 83. 2307: 2302: 2296:, p. 82. 2295: 2290: 2288: 2280: 2275: 2268: 2263: 2256: 2251: 2245:, p. 72. 2244: 2239: 2232: 2227: 2220: 2215: 2208: 2203: 2196: 2191: 2183: 2177: 2173: 2166: 2159: 2154: 2152: 2145:, p. 96. 2144: 2139: 2137: 2130:, p. 48. 2129: 2128:Carswell 2006 2124: 2122: 2114: 2109: 2102: 2101:Carswell 2006 2097: 2091:, p. 74. 2090: 2085: 2083: 2075: 2070: 2063: 2058: 2052:, p. 72. 2051: 2046: 2044: 2042: 2035:, p. 46. 2034: 2033:Carswell 2006 2029: 2013: 2007: 2001:, p. 71. 2000: 1995: 1981:on 2011-12-05 1980: 1976: 1970: 1964:, p. 32. 1963: 1962:Carswell 2006 1958: 1950: 1946: 1942: 1938: 1934: 1927: 1923: 1907: 1901: 1895: 1886: 1879: 1875: 1874:Benaki Museum 1869: 1862: 1858: 1852: 1845: 1841: 1837: 1833: 1827: 1820: 1816: 1810: 1806: 1796: 1793: 1792: 1786: 1779: 1772: 1767: 1760: 1755: 1751: 1744: 1739: 1732: 1727: 1726: 1725: 1723: 1718: 1714: 1710: 1705: 1694: 1684: 1679: 1672: 1667: 1660: 1655: 1648: 1643: 1636: 1631: 1624: 1619: 1612: 1607: 1600: 1595: 1594: 1591:Other objects 1581: 1576: 1569: 1564: 1557: 1552: 1545: 1540: 1536: 1529: 1524: 1517: 1512: 1511: 1505: 1502: 1497: 1495: 1491: 1487: 1479: 1474: 1461: 1454: 1449: 1442: 1437: 1433: 1426: 1421: 1417: 1410: 1405: 1398: 1393: 1389: 1382: 1377: 1370: 1365: 1362: 1355: 1350: 1349: 1348: 1346: 1342: 1338: 1334: 1330: 1325: 1324:in Istanbul. 1323: 1318: 1317: 1312: 1308: 1303: 1301: 1300: 1294: 1293: 1288: 1287: 1282: 1278: 1272: 1269: 1265: 1261: 1257: 1253: 1245: 1240: 1236: 1234: 1226: 1222: 1217: 1212: 1197: 1195: 1191: 1190: 1185: 1181: 1176: 1174: 1169: 1157: 1152: 1148: 1141: 1136: 1132: 1125: 1120: 1116: 1109: 1104: 1100: 1099:rock and wave 1093: 1088: 1087: 1086: 1084: 1080: 1079: 1074: 1071:initiated by 1070: 1066: 1062: 1058: 1053: 1051: 1047: 1043: 1039: 1031: 1026: 1010: 1005: 998: 993: 989: 983: 978: 971: 966: 959: 954: 950: 943: 938: 937: 936: 934: 933: 932:Topkapi Saray 927: 925: 922: 917: 913: 909: 908: 903: 898: 887: 884: 883:quatre fleurs 880: 876: 874: 869: 864: 862: 858: 854: 850: 846: 842: 838: 835:in 1453, the 834: 826: 821: 812: 796: 791: 784: 779: 775: 769: 764: 760: 753: 748: 741: 736: 735: 734: 732: 731: 725: 721: 717: 713: 707: 705: 701: 697: 693: 688: 686: 682: 678: 672: 670: 666: 662: 661: 653: 645: 641: 637: 628: 626: 622: 617: 615: 611: 607: 603: 599: 594: 592: 588: 584: 580: 576: 571: 569: 565: 561: 551: 547: 543: 541: 537: 533: 528: 523: 519: 515: 510: 508: 504: 500: 496: 487: 478: 476: 470: 467: 462: 458: 454: 450: 443: 434: 425: 422: 418: 414: 408: 405: 401: 398:(d. 1529) in 397: 393: 389: 388: 383: 379: 375: 371: 360: 358: 354: 350: 341: 332: 330: 325: 323: 319: 315: 311: 306: 301: 297: 293: 282: 280: 275: 271: 265: 263: 259: 255: 251: 247: 243: 238: 237:antecedents. 236: 235:Seljuk Empire 232: 222: 218: 212: 202: 193: 179: 177: 176:Baghdad Kiosk 173: 169: 165: 161: 157: 153: 149: 145: 140: 135: 133: 129: 123: 121: 117: 113: 109: 105: 102: 98: 94: 90: 86: 81: 79: 75: 71: 67: 63: 59: 58:Iznik pottery 46: 41: 34: 30: 26: 21: 4959: 4955:Pseudo-Kufic 4895: 4875: 4868: 4861: 4784:Kuala Lumpur 4682: 4347: 4209: 4061:Indo-Islamic 4051:Great Seljuk 4011:Architecture 3958:, retrieved 3954:the original 3948: 3923: 3920:Archaeometry 3919: 3900: 3881: 3878:Archaeometry 3877: 3854: 3850: 3831:(1): 77–91. 3828: 3825:Archaeometry 3824: 3799: 3795: 3778: 3774: 3751: 3734: 3687: 3683: 3664: 3638: 3621: 3617: 3598: 3570: 3566: 3540: 3521: 3502: 3482: 3462: 3443: 3429:. 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Archnet 1836:Baltimore 1462:, c. 1560 1434:, c. 1563 1418:, c. 1580 1065:Jerusalem 1046:turquoise 827:, c. 1582 825:Murad III 776:, c. 1510 706:designs. 614:tin oxide 507:Near East 272:court in 250:porcelain 114:court in 108:arabesque 4928:Moresque 4788:London ( 4732:Museums, 4717:Paradise 4702:Charbagh 4683:See also 4585:Nastaliq 4575:Muhaqqaq 4506:the book 4418:Woodwork 4377:Textiles 4338:Fritware 4210:See also 4195:Muqarnas 4190:Mocárabe 4147:Elements 3597:(2005). 3567:Muqarnas 3561:(1990). 2949:19 April 1789:See also 1416:mandorla 1050:Damascus 921:maiolica 916:tuğrakeş 912:Tuğrakeş 902:Suleyman 845:Roxelana 598:alkaline 499:fritware 481:Fritware 475:gadroons 461:Anatolia 305:Damascus 254:fritware 217:Fritware 174:and the 144:Istanbul 116:Istanbul 93:fritware 70:Anatolia 47:border, 25:fritware 4988:Pottery 4945:Mudéjar 4846:Tripoli 4824:Paris ( 4794:V&A 4722:Persian 4712:Ottoman 4626:Muraqqa 4605:Thuluth 4590:Persian 4537:Persian 4532:Ottoman 4504:Arts of 4489:Shabaka 4363:Persian 4330:Pottery 4315:Turkish 4310:Persian 4285:Carpets 4274:Ottoman 4270:Turkish 4264:Safavid 4252:Persian 4185:Minaret 4160:Banna'i 4132:Umayyad 4127:Timurid 4117:Swahili 4107:Ottoman 4102:Moorish 4092:Iranian 4066:Bengali 4046:Fatimid 4041:Chinese 4031:Ayyubid 4026:Abbasid 3722:7543087 3702:Bibcode 3647:1646726 3630:4629039 3587:1523126 3421:4300488 3376:Sources 2861:1 April 1949:4171598 1704:Ahmed I 1480:c. 1557 1468:Pottery 1299:thuluth 1289:on the 1221:lunette 1189:thuluth 988:Tondino 949:Kütahya 924:tondino 837:Ottoman 621:saggars 564:biscuit 466:Kütahya 457:Miletus 374:Selim I 349:Kütahya 318:Sirkeci 292:Kütahya 279:Turkish 270:Safavid 246:Ottoman 215:Right: 112:Ottoman 74:ceramic 33:Chicago 5013:Tiling 4830:Louvre 4810:Museum 4757:Ghazni 4742:Berlin 4707:Mughal 4678:Zellij 4610:Tughra 4560:Diwani 4555:Arabic 4527:Mughal 4522:Arabic 4430:Minbar 4425:Khatam 4409:Suzani 4404:Soumak 4389:Damask 4320:Prayer 4303:Motifs 4200:Sitara 4180:Mihrab 4137:Yemeni 4097:Mamluk 4076:Mughal 3907: 3816:124488 3814: 3758: 3741: 3720: 3671: 3645: 3628: 3605: 3585: 3547: 3528: 3509: 3490: 3469: 3450: 3419: 2178: 1947: 1819:Écouen 1508:Dishes 1316:mihrab 1286:mihrab 1219:Tiled 1194:mihrab 866:Under 841:Hürrem 724:Mamluk 685:Hatayi 679:where 606:silica 579:Kashan 575:Qamsar 527:silica 522:Kashan 449:sherds 370:Tabriz 300:Rhodes 274:Persia 258:silica 162:, the 152:Edirne 5008:İznik 4747:Cairo 4672:tiles 4668:Girih 4631:Hilya 4600:Taliq 4580:Naskh 4570:Kufic 4466:Glass 4451:Brass 4446:Music 4384:Batik 4348:Iznik 4298:Kilim 4260:Qajar 4256:Early 4155:Ablaq 4122:Tatar 4056:Hausa 3812:JSTOR 3718:S2CID 3692:arXiv 3626:JSTOR 3583:JSTOR 3417:JSTOR 1945:JSTOR 1801:Notes 1337:Adana 1292:qibla 1264:Adana 1205:Tiles 1168:Bursa 907:Tuğra 875:style 759:Bursa 730:kufic 665:Bursa 663:) in 660:türbe 625:spurs 568:quern 400:Gebze 262:glass 221:Iznik 156:Adana 148:Bursa 104:glaze 66:İznik 60:, or 35:, US) 4763:Arts 4752:Doha 4595:Sini 4394:Ikat 4233:Arts 4170:Jali 4165:Iwan 3905:ISBN 3756:ISBN 3739:ISSN 3669:ISBN 3643:OCLC 3603:ISBN 3545:ISBN 3526:ISBN 3507:ISBN 3488:ISBN 3467:ISBN 3448:ISBN 3401:Iran 3388:Iran 2951:2015 2863:2015 2653:2018 2176:ISBN 2020:2018 1878:ΓΕ 9 1494:bole 1078:Sufi 1044:and 806:Form 704:Rumi 696:Ming 694:and 692:Yuan 681:Rumi 536:flux 532:soda 518:frit 260:and 154:and 137:The 101:lead 4293:Gul 3928:doi 3886:doi 3859:doi 3833:doi 3804:doi 3783:doi 3779:121 3710:doi 3575:doi 3409:doi 1834:in 1817:in 1778:saz 1715:on 1535:saz 1388:saz 1335:in 1262:in 1147:saz 1131:saz 1115:saz 1063:in 904:'s 879:saz 873:saz 473:of 455:at 68:in 4984:: 4828:, 4812:, 4796:, 4792:, 4776:, 4765:, 4262:, 4258:, 4085:/ 3924:31 3922:. 3882:46 3880:. 3876:. 3855:61 3849:. 3829:36 3827:. 3810:. 3800:21 3798:. 3773:. 3733:. 3716:. 3708:. 3700:. 3688:35 3686:. 3620:. 3581:. 3569:. 3565:. 3415:. 3405:11 3403:. 3399:. 3386:. 3190:^ 3175:^ 3136:^ 3049:^ 3010:^ 2983:^ 2886:^ 2871:^ 2808:^ 2768:. 2733:^ 2681:. 2612:^ 2402:^ 2361:^ 2286:^ 2150:^ 2135:^ 2120:^ 2081:^ 2040:^ 1941:72 1939:. 1935:. 477:. 264:. 178:. 150:, 146:, 122:. 80:. 49:c. 4832:) 4816:) 4800:) 4780:) 4769:) 4674:) 4670:( 4276:) 4272:( 4266:) 4254:( 3995:e 3988:t 3981:v 3934:. 3930:: 3913:. 3894:. 3888:: 3867:. 3861:: 3841:. 3839:. 3835:: 3818:. 3806:: 3789:. 3785:: 3764:. 3745:. 3724:. 3712:: 3704:: 3694:: 3677:. 3649:. 3632:. 3622:2 3611:. 3589:. 3577:: 3571:7 3553:. 3534:. 3515:. 3496:. 3475:. 3456:. 3434:. 3411:: 3390:. 3032:. 2953:. 2865:. 2778:. 2691:. 2655:. 2373:. 2184:. 2076:. 2022:. 1988:. 1951:. 1880:. 1863:) 1838:( 843:( 31:(

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