Iznik is a magnificent large-format book on the much sought after Ottoman ceramics whose quality, stunning designs, elegant forms, and rich colors have had a profound impact on European taste. The ceramics of Iznik were among the finest works of art produced in the Ottoman Empire. The technical quality of this pottery and the beauty and immediacy of its designs have long made it one of the most popular art forms from the Islamic world. Based on many years of research, this study is the only comprehensive survey devoted to Iznik pottery vessels.
"After more than twenty years since the Gulbenkian's Iznik pottery catalogue was published comes this book celebrating the impressive decorative repertoire, the great diversity, quantity and quality of Ottoman ceramic ware gathered by Calouste Sarkis Gulbenkian." "This publication is based on a selection of eighty representative objects from the various periods of production spanning the start of the 16th century up until the industry's decline in the 17th century. After a brief history of the collection, the first part introduces the various types of ware according to their decoration, in a broadly chronological order. The second part, which is dedicated to tiles, deals with large panels, frieze and border tiles, most of which are on permanent display in the Museum." "Calouste Gulbenkian's first contact with Ottoman ceramics, which coincided with the beginning of his career as a collector, took place in 1898 when he bought four Iznik fritware dishes at Christie's in London, two of which are of the highest quality, decorated over a scale background. Over the following forty years, Gulbenkian steadily collected the remaining pieces making up this important group, which also includes the magnificent ceramic tile panels." --Book Jacket.
Some of the greatest glories of Ottoman art are the luxurious ceramic vessels and splendid tiles made to decorate newly founded mosques and palaces by the Turkish pottery at Iznik (ancient Nicaea). Their designs combine purely Turkish motifs with elements ingeniously transposed from imported Chinese blue-and-white porcelain. Over time a more subtle painterly style and complex palette were developed, culminating in the brilliant combination of cobalt blue, turquoise, olive green, magenta, and red that became the internationally recognized Iznik hallmark. Iznik ceramics were highly prized far beyond the Ottoman Empire, and although the factories had passed their peak by the late seventeenth century, their influence lived on through nineteenth-century European imitations by such potters as William de Morgan and Cantagalli.
In this beautifully illustrated book, Walter Denny presents a new vision of one of the most internationally renowned Islamic artforms: Iznik ceramics. Covering both Iznik pièces de forme and the famous Iznik tiles that decorate Ottoman imperial monuments, Iznik integrates the entire spectrum of Iznik production, both tiles and wares, and the broader artistic tradition in which it originated. Denny begins with a description of the particular nature of Islamic art under the Ottoman empire, as well as the methods of the craftsmen who worked under the imperial auspices. He then examines the links between the court style of Istanbul and the ceramic ateliers in Iznik itself, and the crucial role of the dominant styles of the golden age of Iznik ceramics and their most famous creators, Shah Kulu and Kara Memi. The book showcases the array of motifs - floral, vegetal and figurative - used on Iznik wares, looks at the relationship between non-Muslim communities and the Ottoman empire, and closes with an examination of the rich stylistic heritage that Iznik ceramics have given to Western art. Gloriously illustrated in full colour throughout, this is a panoramic overview of a spectacular and refined artform.
From 828, when Venetian merchants carried home from Alexandria the stolen relics of St. Mark, to the fall of the Venetian Republic to Napoleon in 1797, the visual arts in Venice were dramatically influenced by Islamic art. Because of its strategic location on the Mediterranean, Venice had long imported objects from the Near East through channels of trade, and it flourished during this particular period as a commercial, political, and diplomatic hub. This monumental book examines Venice's rise as the "bazaar of Europe" and how and why the city absorbed artistic and cultural ideas that originated in the Islamic world. Venice and the Islamic World, 828–1797 features a wide range of fascinating images and objects, including paintings and drawings by familiar Venetian artists such as Bellini, Carpaccio, and Tiepolo; beautiful Persian and Ottoman miniatures; and inlaid metalwork, ceramics, lacquer ware, gilded and enameled glass, textiles, and carpets made in the Serene Republic and the Mamluk, Ottoman, and Safavid Empires. Together these exquisite objects illuminate the ways Islamic art inspired Venetian artists, while also highlighting Venice's own views toward its neighboring region. Fascinating essays by distinguished scholars and conservators offer new historical and technical insights into this unique artistic relationship between East and West.
Motifs include clouds, lotus flowers, animal and bird forms, lush botanicals of every description, geometrical forms, medallions, borders, vase and ewer forms, sailing vessels, architectural elements, Christian and European symbols and much more.
Inspired by the great diversity of Iznik and Delft pottery, this book brings to you a selection of bright, modern designs. The patterns in this book are varied in both their size and complexity, from small designs for tags, pincushions, and cards to more involved designs for pictures and other display items. Many are simple, quick to stitch, and usable in multiple ways. An individual small design could be repeated to form a band for a table cloth, curtain, or towel edge--or tiled to produce a larger pattern for a cushion or sampler style design--making it a suitable book for both new and experienced stitchers to enjoy.
“A panoramic overview of a spectacular and refined art form . . . eminently readable as well as beautiful.”—Antiques & the Arts In this beautifully illustrated book, Walter Denny presents a vision of one of the best-known and most internationally renowned Islamic art forms: Iznik ceramics. Covering both Iznik pieces de forme and the famous Iznik tiles that decorate Ottoman imperial monuments, the book integrates the entire spectrum of Iznik production, both tiles and wares, and the broader artistic tradition in which it originated. The book showcases the array of motifs—floral, vegetal, and figurative—used on Iznik wares, looks at the relationship between non-Moslem communities and the Ottoman empire, and closes with an examination of the rich stylistic heritage that Iznik ceramics have given to Western art. Lavishly illustrated in color throughout, this is a panoramic overview of a spectacular and refined art form.
