Iznik Tiles
are admired worldwide
for a lot of reasons :
They 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 desings 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
16 th 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. Today
Iznik tiles reached their heyday in the 16 th 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 Archeology 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 16 th 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 resul 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
a 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 (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 hand-made 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 herigate to future generations through systematic educational programs.
The Iznik
Foundation is composed of three entities:
Vocational Center,
Tile-Ceramics Research Center,
Tile and Ceramics Atelier.
It also has
a liaison office in Kuruçeşme, 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
16 th 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 present day technology, without spoiling
the inherent quality and aesthetic value which have made the 16 th 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.
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 archeology, 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 Paşa Medresesi,
which was built before 1357 and still survives in its original state and by the
Hayrettin Paşa 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.
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