GENERAL PROPERTIES OF THE PERIOD
After describing “Secrets Under Underglaze” of the period, we must now examine its general developement next.
Baba Nakkaş became master craftman by Fatih Sultan Mehmet after the conquest of İstanbul. He was a very important artist. In the same historical process, Iznik ceramic masters, on the other hand the quality of the dough, turning to quartz upgrading, on the other hand have developed techniques for glazing and firing. In the palace, Baba Nakkaş and his students, who influenced Chinese ceramic patterns, motifs and compositions, and began to copy them exactly and drew their creations rumi and hatayi patterns with them and created extraordinary objects.
This application and production, the influence of certain periods in the historical perspective of Chinese ceramics continued until the late 16th century.
These Periods are:
The Yuan Dynasty 1279-1368
The Ming Dynasty
The Yongle periodu 1402-1424
The Xuande periodu 1426-1435
The Chenghua periodu 1465-1487
The Jiajing periodu 1522-1566
However, craftmen in the palace used and coppied some of the motifs from Chinese ceramics and without knowing what the motifs they are, and continued until the last period of Iznik ceramics. For example, ling zhi mushroom called flower motif or lotus flower motif, called cloud to dragon motif, dragon skin called Chinese rock or wall, separators have an important role and a part of Chinese home life called atlar. Unfortunately, many scientists and researcher interpreted these patterns in the same mistake. However, by this copy, Iznik ceramics have some patterns such as rumi, ( images 59,60,61,62) vertical / horizontal view, (images 70,74,79,80) bird view (images 108,112,139), Wheel of fortune ( image 88) separator, (images 62 63 70).
Color characteristic of the period, two-color application technique. Usually preferred dark blue or cobalt blue tones painting on white lining. Blue and white Chinese ceramics effect it very much. Baba Nakkaş and his students produced blue background and white motif like Chinese ceramics and towards the end of the period they used successfully sage tea green – white and brown – white on some objects. Seeking new colors, they used different tones of blue and green colors and found turquoise color as a third color and it took its place in the palette and on the objects.
By the way we have to explaine a traditional msitake. Because of an old traditional wrong speech, academics and researchers examining Ottoman documents and said that “there must be a lot of green-white Iznik pottery was produced.” Their hope is in an excavation site they will find a lot of green- white ceramics. Yet even today, especially in the Aegean and Mediterranean villages, and even many in our village, blue is still called green. It comes like it from generation to generation from the Ottomans. For this reason, 400-500 years ago, when the documents written by official, the offical sahite to the documents.w blue – white Iznik ceramic, but he knew blue as a green, he wrote green – w
Continue in the book………….
Forms an important object of the period of historical findings that may help in the technical measurement scales are.
As can be seen produced large-scale plates to 30 cm from 46 cm during Baba Nakkaş period. This is entirely the result of Chinese influence. Plate edges often wavy edges (leaf edges or parentheses). Proportionally lower than the production of flat-sided plates. The width of the borders are from 3.3 cm to 6 cm. The height of the plate goes up to 8.2 cm. These numbers have no any proportional relationship between plate diameters.
A Kitchen equipment model from Italy. Not favoured by the Ottoman cuisine is not useful for. At the end of the period (1530-35) produced as a standard.
Continue in the book…….
In the period analyzed in terms of art, primarily by using the precise contours of a drawing technique applied a very thin brush. Paint the drawing techniques that can cause flooding, patterns painted interiors, care and attention to their work has made. The result is excellent.
The teachings of Baba Nakkaş on patterns, motifs and brush techniques continued and transferred from generation to generation by all craftmen until the close of Iznik workshops.
Examine the period in 5 parts which are visual, color, technique, and historically will be much healthier.